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W.  SOMERSET  MAUGHAM 


EAST  OF  SUEZ 


BY  W.  SOMERSET  MAUGHAM 

Plays: 

EAST  OF   SUEZ 
THE  CIRCLE 
THE  EXPLORER 
MRS.  DOT 

A  MAN  OF  HONOUR 
PENELOPE 
JACK  STRAW 
LADY  FREDERICK 
THE  TENTH  MAN 
LANDED  GENTRY 
THE  UNKNOWN 
SMITH 

Novels: 

OF  HUMAN  BONDAGE 

THE  MOON  AND  SIXPENCE 

THE  TREMBLING  OF  A  LEAF 

LIZA  OF  LAMBETH 

MRS.  CRADDOCK 

THE  EXPLORER 

THE  MAGICIAN 

THE  MERRY-GO-ROUND 


ON    A    CHINESE    SCREEN 
THE    LAND    OF    THE    BLESSED    VIRGIN 
(Sketches  aiid  Impressions  in  Andalusia) 


EAST    OF    SUEZ 

A  PLAY  IN  SEVEN  SCENES 
BY 

W.  SOMERSET  MAUGHAM 


NEW  XSir  YORK 
GEORGE   H.  DORAN   COMPANY 


COPYRIGHT.  1922, 
BY  GEORGE  H.  DORAN  COMPANY 


EAST  OP  SUEZ.    I 


PRINTED   IN  THE   UNITED    STATES  OF    AMERICA 


DRAMATIS    PERSONiE 

Daisy 

George  Conway 

Henry  Anderson 

Harold  Knox 

Lee  Tai  Cheng 

Sylvia  Knox 

Amah 

Wu 

Thf  action  of  the  play  takes  place  in  Peking 


SCENES 

SCENE  PAGE 

I      A  STREET  IN  PEKING II 

II  A  SMALL  VERANDAH  ON  AN  UPPER  STOREY  OF 
THE  BRITISH  AMERICAN  TOBACCO  COMPANY'S 
PREMISES 17 

III  THE    TEMPLE    OF  FIDELITY  AND    VIRTUOUS    INCLI- 

NATION     37 

IV  THE    SITTING-ROOM    IN   THE    ANDERSONS*    APART- 

MENTS      59 

V      THE    COURTYARD    IN    THE    ANDERSONS'    PART    OF 

THE  TEMPLE 81 

VI      A  SMALL  ROOM  IN  A  CHINESE  HOUSE  IN  PEKING     .     lOI 

VII      THE    SITTING-ROOM    IN   THE    ANDERSONS'   APART- 
MENTS      121 


SCENE  I 


EAST    OF    SUEZ 


SCENE  I 

Scene:   A  street  in  Peking 

Several  shops  are  shown.  Their  fronts  are  richly  decorated 
with  carved  wood  painted  red  and  profusely  gilt.  The 
counters  are  elaborately  carved.  Outside  are  huge  sign- 
boards. The  shops  are  open  to  the  street  and  you  can 
see  the  various  wares  they  sell.  One  is  a  coffin  shop, 
where  the  coolies  are  at  work  on  a  coffin:  other  coffins, 
ready  for  sale,  are  displayed;  some  of  them  are  of  plain 
deal,  others  are  rich,  with  black  and  gold.  The  next  shop 
is  a  money  change/s.  Then  there  is  a  lantern  shop  in 
which  all  manner  of  coloured  lanterns  are  hanging.  After 
this  comes  a  druggist  where  there  are  queer  things  in 
bottles  and  dried  herbs.  A  small  stuffed  crocodile  is 
a  prominent  object.  Next  to  this  is  a  shop  where  crockery 
is  sold,  large  coloured  jars,  plates,  and  all  manner  of 
strange  animals.  In  all  the  shops  two  or  three  Chinamen 
are  seated.  Some  read  newspapers  through  great  horn 
spectacles;   some  smoke  water  pipes. 

The  street  is  crowded.  Here  is  an  itinerant  cook  with  his  two 
chests,  in  one  of  which  is  burning  charcoal:  he  serves 
out  bowls  of  rice  and  condiments  to  the  passers-by  who 
want  food.  There  is  a  barber  with  the  utensils  of  his 
trade.  A  coolie,  seated  on  a  stool,  is  having  his  head 
shaved.  Chinese  walk  to  and  fro. 
11 


12  EAST  OF  SUEZ  [scene  i 

Some  are  coolies  and  wear  blue  cotton  in  various  stages  of 
raggedness;  some  in  black  gowns  and  caps  and  black 
shoes  are  merchants  and  clerks.  There  is  a  beggar, 
gaunt  and  thin,  with  an  untidy  mop  of  bristly  hair,  in 
tatters  of  indescribable  filthiness.  He  stops  at  one  of  the 
shops  and  begins  a  long  wail.  For  a  time  no  one  takes 
any  notice  of  him,  but  presently  on  a  word  from  the  fat 
shopkeeper  an  assistant  gives  him  a  few  cash  and  he 
wanders  on.  Coolies,  half  naked,  hurry  by,  bearing 
great  bales  on  their  yokes.  They  utter  little  sharp  cries 
for  people  to  get  out  of  their  way.  Peking  carts  with 
their  blue  hoods  rumble  noisily  along.  Rickshaws  pass 
rapidly  in  both  directions,  and  the  rickshaw  boys  shout 
for  the  crowd  to  make  way.  In  the  rickshaws  are  grave 
Chinese.  Some  are  dressed  in  white  ducks  after  the 
European  fashion;  in  other  rickshaws  are  Chinese 
women  in  long  smocks  and  wide  trousers  or  Manchu 
ladies,  with  their  faces  painted  like  masks,  in  embroidered 
silks.  Women  of  various  sorts  stroll  about  the  street 
or  enter  the  shops.  You  see  them  chaffering  for  various 
articles. 

A  water-carrier  passes  along  with  a  creaking  barrow,  slopping 
the  water  as  he  goes;  an  old  blind  woman,  a  masseuse, 
advances  slowly,  striking  wooden  clappers  to  proclaim 
her  calling.  A  musician  stands  on  the  curb  and  plays 
a  tuneless  melody  on  a  one-stringed  fiddle.  From  the 
distance  comes  the  muffled  sound  of  gongs.  There  is  a 
babel  of  sound  caused  by  the  talking  of  all  these  people, 
by  the  cries  of  coolies,  the  gong,  the  clappers,  and  the 
fiddle.  From  burning  joss-sticks  in  the  shops  in  front 
of  the  household  god  comes  a  savour  of  incense. 

A  couple  of  Mongols  ride  across  on  shaggy  ponies;  they  wear 
high  boots  and  Astrakhan  caps.  Then  a  string  of  camels 
sways  slowly  down  the  street.  They  carry  great  burdens 
of  skins  from  the  deserts  of  Mongolia.  They  are  accom- 
panied by  wild  looking  fellows.  Two  stout  Chinese 
gentlemen  are  giving  their  pet  birds  an  airing;  the  birds 


scEXE  i]  EAST  OF  SUEZ  13 

are  attached  by  the  leg  with  a  string  and  sit  on  little 
wooden  perches.  The  two  Chinese  gentlemen  discuss 
their  merits.  Round  about  them  small  boys  play.  They 
run  hither  and  thither  pursuing  one  another  amid  the 
crowd. 


END    OF    SCENE    I 


SCENE  II 


SCENE  II 

A  small  verandah  on  an  upper  storey  of  the  British  American 
Tobacco  Company' s  premises,  the  upper  part  of  which 
the  staff  lives  in.    At  the  back  are  heavy  arches  of  white- 
washed masonry  and  a  low  wall  which  serves  as  a  para- 
pet.   Green  blinds  are  drawn.     There  is  a  bamboo  table 
on  which  are  copies  of  illustrated  papers.     A  couple  of 
long  bamboo  chairs  and  two  or  three  smaller  arm  chairs. 
The  floor  is  tiled. 
On  one  of  the  long  chairs  Harold  Knox  is  lying  asleep.    He 
is  a  young  man  of  pleasing  appearance.    He  wears  white 
ducks,  but  he  has  taken  off  his  coat,  which  lies  on  a  chair, 
and  his  collar  and  tie  and  pin.     They  are  on  the  table 
by  his  side.    He  is  troubled  by  a  fly  and,  half  waking 
but  with  his  eyes  still  closed,  tries  to  drive  it  away. 
Knox.     Curse  it.     [He  opens  his  eyes  and  yatvns.]     Boy ! 
Wu.     [Outside.]     Ye. 
Knox.     What's  the  time? 

[Wu  comes  in;  he  is  a  Chinese  servant  in  a  long  white 
gown  with  a  black  cap  on  his  head.    He  bears  a  tray 
on  which  is  a  bottle  of  whisky,  a  glass  and  a  syphon. 
Wu.     My  no  sabe. 

Knox.  Anyhow  it's  time  for  a  whisky  and  soda.  [Wu 
puts  the  tray  down  on  the  table.  Knox  smiles.]  IntcUip;cnt 
anticipation.  Model  servant  and  all  that  sort  of  thing. 
[Wu  pours  out  the  whisky.]  You  don't  care  if  I  drink  my- 
self to  death,  Wu — do  you?  [Wu  smiles,  showing  all  his 
teeth.]  Fault  of  the  climate.  Give  me  the  glass.  [Wu 
does  so.]  You're  like  a  mother  to  me,  Wu.  [He  drinks 
and  puts  down  the  glass.]  By  George,  I  feel  another  man. 
The  hull-dog  breed,  Wu.     Never  say  die.     Rule  Britan- 

17 


18  EAST  OF  SUEZ  [scene  ii 

nia.     Pull  up  the  blinds,  you  lazy  blighter.     The  sun's 
off  and  the  place  is  like  a  oven. 

[Wu  goes  over  and  pulls  up  one  blind  after  the  other. 
An  expanse  of  blue  sky  is  seen.  Henry  Anderson 
comes  in.  He  is  a  man  of  thirty,  fair,  good-looking, 
with  a  pleasant,  honest  face.  His  obvious  straightfor- 
wardness and  sincerity  make  him  attractive. 

Harry.  [Breezily.]  Hulloa,  Harold,  you  seem  to  be 
taking  it  easy. 

Knox.  There  was  nothing  to  do  in  the  office  and  I 
thought  I'd  get  in  my  beauty  sleep  while  I  had  the  chance. 

Harry.  I  thought  you  had  your  beauty  sleep  before 
midnight. 

Knox.  I'm  taking  time  by  the  forelock  so  as  to  be 
on  the  safe  side. 

Harry.     Are  you  going  on  the  loose  again  tonight? 

Knox.     Again,  Henry.? 

Harry.     You  were  blind  last  night. 

Knox.  [With  great  satisfaction.]  Paralytic  .  .  .  Hul- 
loa, who's  this.''  [He  catches  sight  of  the  Amah  who  has 
just  entered.  She  is  a  little,  thin,  wrinkled,  elderly  China- 
woman in  a  long  smock  and  trousers.  She  has  gold  pins  in 
her  sleek  black  hair.  When  she  sees  she  has  been  noticed 
she  smiles  obsequiously.]  Well,  fair  charmer,  what  can  we 
do  for  you  ? 

Harry.     What  does  she  want,  Wu.? 

Knox.     Is  this  the  face  that  launched  a  thousand  ships  ? 

Amah.     My  Missy  have  pay  my  letter. 

Harry.  [With  sudden  eager  interest.]  Are  you  Mrs. 
Rathbone's  amah?     Have  you  got  a  letter  for  me? 

Amah.     My  belong  Missy  Rathbone  amah. 

Harry.     Well,  hurry  up,  don't  be  all  night  about  it. 
Lend  me  a  dollar,  Harold.    I  want  to  give  it  to  the  old  girl. 
[  The  Amah  takes  a  note  out  of  her  sleeve  and  gives  it  to 
Harry.     He  opens  it  and  reads. 

Knox.  I  haven't  got  a  dollar.  Give  her  a  chit  or 
ask  Wu.     He's  the  only  man  I  know  who's  got  any  money. 


SCENE  n]  EAST  OF  SUEZ  19 

Harry.     Let  me  have  a  dollar,  Wu.     Chop-chop. 
Wu.     My  go  catchee. 

[He  goes  out.  The  Amah  is  standing  near  the  table. 
While  Knox  and  Harry  go  on  talking  she  notices 
Knox's  pin.  She  smiles  and  smiles  and  makes  little 
bows  to  the  two  men,  but  at  the  same  time  her  hand 
cautiously  reaches  out  for  the  pin  and  closes  on  it. 
Then  she  secretes  it  in  her  sleeve. 
Harry.  I  thought  you  were  going  to  play  tennis  this 
afternoon. 

Knox.     So  I  am  later  on. 

Harry,     [Smiling.]     Do  it  now,  dear  boy.    That  is  a 
precept  a  business  man  should  never  forget. 

Knox.     I  should  hate  to  think  you  wanted  to  be  rid  of 
me. 

Harry.     I  dote  on  your  company,  but  I  feel   that  I 
mustn't  be  selfish. 

Knox.     [Pulling  his  leg.]    To  tell  you  the  truth  I  don't 
feel  very  fit  today. 

Harry.     A  little  bilious,  I  dare  say.     Half  a  dozen  hard 
sets  are  just  what  you  want.     [He  hands  Knox  his  coat.\ 
Knox.     What  is  this.? 
Harry.     Your  coat. 

Knox.     You're  making  yourself  almost  more  distress- 
ingly plain  than  nature  has  already  made  you. 

[Wu  comes  back  and  hands  Harry  a  dollar,  and  then 
goes  out.     Harry  gives  the  dollar  to  the  Amah. 
Harry.     Here's  a  dollar  for  you,  amah.    You  go  back 
to  missy  and  tell  her  it's  all  right  and  will  she  come  chop- 
chop.     Sabe.? 

Amah.     My  sabe.     Goo'-bye. 

Knox.     God  bless  you,  dearie.     It's  done  mc  good  to 
see  your  winsome  little  face. 

Harry.     [fVith  a  smile.]     Shut  up,  Harold. 

[The  Amah  with  nods,  smiles  and  bows,  goes  out. 
Knox.     Harry,  my  poor  friend,  is  it  possible  that  you 
have  an  assignation.? 


30  EAST  OF  SUEZ  [scene  ii 

Harry.  What  is  possible  is  that  if  you  don't  get  out 
quick  I'll  throw  you  out. 

Knox.     Why  didn't  you  say  you  were  expecting  a  girl? 

Harry.     I'm  not;   I'm  expecting  a  lady. 

Knox.  Are  you  sure  you  know  how  to  behave?  If 
you'd  like  me  to  stay  and  see  you  don't  do  the  wrong  thing 
I'll  chuck  my  tennis.  I'm  always  ready  to  sacrifice  myself 
for  a  friend, 

Harry.  Has  it  struck  you  that  the  distance  from  the 
verandah  to  the  street  is  very  considerable? 

Knox.  And  the  pavement  is  hard.  I  flatter  myself  I 
can  take  a  hint.  I  wonder  where  the  devil  my  pin  is.  I 
left  it  on  the  table. 

Harry.     I  expect  Wu  put  it  away. 

Knox.  It's  much  more  likely  that  old  woman  pinched 
it. 

Harry.  Oh,  nonsense.  She  wouldn't  dream  of  such  a 
thing.     I  believe  Mrs.  Rathbone's  had  her  for  ages. 

Knox.     Who  is  Mrs.  Rathbone? 

Harry.  [Not  wishing  to  he  questioned.]  A  friend  of 
mine. 

[George  Conway  comes  in.  He  is  a  tall,  dark  man 
in  the  early  thirties.  He  is  a  handsome,  well-built 
fellow,  of  a  somewhat  rugged  appearance,  but  urbane 
and  self-assured. 

George.     May  I  come  in? 

Harry.  [Eagerly,  shaking  him  warmly  by  the  hand.] 
At  last.  By  Jove,  it's  good  to  see  you  again.  You  know 
Knox,  don't  you  ? 

George.     I  think  so. 

Knox.  I  wash  bottles  in  the  B.  A.  T.  I  don't  expect 
the  legation  bloods  to  be  aware  of  my  existence. 

George.  [With  a  twinkle  in  his  eye.]  I  don't  know  that 
an  Assistant  Chinese  Secretary  is  such  a  blood  as  all  that. 

Knox.  You've  just  been  down  to  Fuchow,  haven't 
you? 

George.     Yes,  I  only  got  back  this  morning. 


SCENE  n]  EAST  OF  SUEZ  21 

Knox,     Did  you  see  Freddy  Baker  by  any  chance? 

George.     Yes,  poor  chap. 

Knox.  Oh,  I've  got  no  pity  for  him.  He's  just  a 
damned  fool. 

Harry.     Why  ? 

Knox.  Haven't  you  heard?  He's  married  a  half- 
caste. 

Harry.     What  of  it?     I  believe  she's   a  very  pretty 

girl. 

Knox.  I  daresay  she  is.  But  hang  it  all,  he  needn't 
have  married  her. 

George.     I  don't  think  it  was  a  very  wise  thing  to  do. 

Harry.  I  should  have  thought  all  those  prejudices 
were  out  of  date.  Why  shouldn't  a  man  marry  a  half- 
caste  if  he  wants  to? 

Knox.  It  can't  be  very  nice  to  have  a  wife  whom  even 
the  missionary  ladies  turn  up  their  noses  at. 

Harry.  [With  a  shrug  of  the  shoulders.]  You  wait  till 
Freddy's  number  one  in  Hankow  and  can  entertain.  I 
bet  the  white  ladies  will  be  glad  enough  to  know  his 
missus  then. 

George.  Yes,  but  that's  just  it.  He'll  never  get  a  good 
job  with  a  Eurasian  wife. 

Harry.  He's  in  Jardine's,  isn't  he?  Do  you  mean  to 
say  it's  going  to  handicap  a  man  in  a  shipping  firm  because 
he's  married  a  woman  who's  partly  Chinese? 

George.  Of  course  it  is.  Jardine's  are  about  the  most 
important  firm  in  China  and  the  manager  of  one  of  their 
principal  branches  has  definite  social  obligations.  Freddy 
Baker  will  be  sent  to  twopenny  halfpenny  outports  where 
his  wife  doesn't  matter. 

Knox.  I  think  he's  damned  lucky  if  he's  not  asked  to 
resign. 

Harry.  It's  cruel.  His  wife  may  be  a  charming  and 
cultivated  woman. 

Knox.     Have  you  ever  known  a  half-caste  that  was? 

Harry.     I  have. 


22  EAST  OF  SUEZ  [scene  ii 

Knox.  Well,  I've  been  in  this  country  for  seven  years 
and  I've  never  met  one,  male  or  female,  that  didn't  give 
me  the  shivers. 

Harry.  I've  no  patience  with  you.  You're  a  perfect 
damned  fool. 

Knox.  [A  little  surprised,  but  quite  good-humoured.] 
You're  getting  rather  excited,  aren't  you? 

Harry.     [Hotly.]     I  hate  injustice. 

George.  Do  you  think  it  really  is  injustice?  The 
English  are  not  an  unkindly  race.  If  they've  got  a  down 
on  half-castes  there  are  probably  very  good  grounds  for  it. 

Harry.     What  are  they? 

Knox.  We  don't  much  like  their  morals,  but  we  can't 
stick  their  manners. 

George.  Somehow  or  other  they  seem  to  inherit  all 
the  bad  qualities  of  the  two  races  from  which  they  spring 
and  none  of  the  good  ones.  I'm  sure  there  are  exceptions, 
but  on  the  whole  the  Eurasian  is  vulgar  and  noisy.  He 
can't  tell  the  truth  if  he  tries. 

Knox.     To  do  him  justice,  he  seldom  tries. 

George.  He's  as  vain  as  a  peacock.  He'll  cringe 
when  he's  afraid  of  you  and  he'll  bully  when  he's  not.  You 
can  never  rely  on  him.  He's  crooked  from  the  crown  of 
his  German  hat  to  the  toes  of  his  American  boots. 

Knox.  Straight  from  the  shoulder.  Take  the  count, 
old  man. 

Harry.     [Frigidly.]     Oughtn't  you  to  be  going? 

Knox.     [Smiling.]     No,  but  I  will. 

Harry.  I'm  sorry  if  I  was  rude  to  you  just  now,  old 
man. 

Knox.  Silly  ass,  you've  broken  no  bones;  my  self- 
esteem,  thank  God,  is  unimpaired. 

[He  goes  out. 

Harry.  I  say,  I'm  awfully  glad  you're  back,  George. 
You  can't  think  how  I  miss  you  when  you're  away. 

George.  As  soon  as  the  shooting  starts  we'll  try  and 
get  two  or  three  days  together  in  the  country. 


SCENE  n]  [EAST  OF  SUEZ  23 

Harry.     Yes,  that  would  be  jolly,     [Calling.]     Wu. 

Wu.     [Outside.]     Ye'. 

Harry.     Bring  tea  for  three. 

George.     Who  is  the  third  ? 

Harry.  When  you  said  you  could  come  round  I  asked 
somebody  I  want  you  very  much  to  meet. 

George.     Who  is  that.'' 

Harry.  Mrs.  Rathbone  .  .  .  I'm  going  to  be  married 
to  her  and  we  want  you  to  be  our  best  man. 

George.     Harry. 

Harry.     [Boyishly.]     I  thought  you'd  be  surprised. 

George.  My  dear  old  boy,  I  am  so  glad.  I  hope 
you'll  be  awfully  happy. 

Harry.     I'm  awfully  happy  now. 

George.     Why  have  you  kept  it  so  dark? 

Harry.  I  didn't  want  to  say  anything  till  it  was  all 
settled.  Besides,  I've  only  known  her  six  weeks.  I  met 
her  when  I  was  down  in  Shanghai  .  .  . 

George.     Is  she  a  widow? 

Harry.  Yes,  she  was  married  to  an  American  in  the 
F.  M.  S. 

George.     Is  she  American? 

Harry.  Only  by  marriage.  I'm  afraid  she  didn't 
have  a  very  happy  married  life. 

George.  Poor  thing.  I  think  I'd  take  a  small  bet 
that  you  won't  beat  her. 

Harry.     I  mean  to  try  my  best  to  make  her  happy. 

George.  You  old  fool,  I've  never  known  a  man  who 
was  likely  to  make  a  better  husband. 

Harry.     I'm  most  awfully  in  love  with  her,  George. 

George.     Isn't  that  ripping?     How  old  is  she? 

Harry.  Only  twenty-two.  She's  the  loveliest  thing 
you  ever  saw. 

George.     And  is  she  in  love  with  you? 

Harry.     She  says  so. 

Gr:oRGE.     She  damned  well  ought  to  be. 

Harry.     1  do  hope  you'll  like  her,  George. 


24  EAST  OF  SUEZ  [scene  ii 

George.  Of  course  I  shall.  You're  not  the  sort  of 
chap  to  fall  in  love  with  a  woman  who  isn't  nice. 

[Harry  zvalks  up  and  down  for  a  moment  restlessly. 

Harry.     Will  you  have  a  whisky  and  soda.^ 

George.     No,  thanks  .  .  .  I'll  wait  for  tea. 

Harry.  She  ought  to  be  here  in  a  moment.  [Suddenly 
making  up  his  7}iind.]  It's  no  good  beating  about  the  bush. 
I  may  as  well  tell  you  at  once.  Her — her  mother  was 
Chinese. 

George.  [Unable  to  conceal  his  dismay.]  Oh,  Harry. 
[A  pause.]     I  wish  I  hadn't  said  all  that  I  did  just  now. 

Harry.     Of  course  you  didn't  know. 

George.  [Gravely.]  I  should  have  had  to  say  some- 
thing very  like  it,  Harry.  But  I  shouldn't  have  put  it  so 
bluntly. 

Harry.     You  said  yourself  there  were  exceptions. 

George.  I  know.  [Distressed.]  Won't  your  people 
be  rather  upset.'' 

Harry.  I  don't  see  how  it  can  matter  to  them. 
They're  nine  thousand  miles  away. 

George.     Who  was  her  father? 

Harry.  Oh,  he  was  a  merchant.  He's  dead.  And 
her  mother  is  too. 

George.  That's  something.  I  don't  think  you'd 
much  like  having  a  Chinese  mother-in-law  about  the  place. 

Harry.  George,  you  won't  let  it  make  any  difference, 
will  you?     We've  known  one  another  all  our  lives. 

George.  My  dear  old  chap,  as  far  as  I'm  concerned  I 
shouldn't  care  if  you  married  the  first  cousin  of  the  Ace 
of  Spades.     I  don't  want  you  to  make  a  hash  of  things. 

Harry.  Wait  till  you  see  her.  She's  the  most  fasci- 
nating thing  you  ever  met. 

George.  Yes,  they  can  be  charming.  I  was  awfully 
in  love  with  a  half — with  a  Eurasian  girl  myself  years  ago. 
It  was  before  you  came  out  to  the  country.  I  wanted  to 
marry  her. 

Harry.     Why  didn't  you? 


SCENE  n]  EAST  OF  SUEZ  25 

George.  It  was  up  in  Chung-king.  I'd  just  been 
appointed  vice-consul.  I  was  only  twenty-three.  The 
Minister  wired  from  Peking  that  I'd  have  to  resign  if  I  did. 
I  hadn't  a  bob  except  my  salary  and  they  transferred  me 
to  Canton  to  get  me  away. 

Harry.  It's  different  for  you.  You're  in  the  service 
and  you  may  be  Minister  one  of  these  days.  I'm  only  a 
merchant. 

George.  Even  for  you  there'll  be  difficulties,  you 
know.  Has  it  occurred  to  you  that  the  white  ladies  won't 
be  very  nice.'' 

Harry.     I  can  do  without  their  society, 

George.  You  must  know  some  people.  It  means 
you'll  have  to  hobnob  with  Eurasian  clerks  and  their 
wives.     I'm  afraid  you'll  find  it  pretty  rotten. 

Harry.     If  you'll  stick  to  me  I  don't  care. 

George.  I  suppose  you've  absolutely  made  up  your 
mind? 

Harry.     Absolutely. 

George.  In  that  case  I've  got  nothing  more  to  say. 
You  can't  expect  me  not  to  be  a  little  disappointed,  but 
after  all  the  chief  thing  is  your  happiness,  and  whatever 
I  can  do  I  will.     You  can  put  your  shirt  on  that. 

Harry.     You're  a  brick,  George. 

George.  The  little  lady  ought  to  be  here,  oughtn't 
she.? 

Harry.     I  think  I  hear  her  on  the  stairs. 

[He  goes  to  the  entrance  and  then  out.  Wu  brings  in  the 
tea  and  sets  it  on  the  table.  George  walks  over  to 
the  parapet  and  looks  thoughtfully  before  him.  There 
is  a  sound  of  voices  in  the  adjoining  room. 

Harry.     [Outside.]     Come  in;   he's  on  the  verandah. 

Daisy.  [Outside.]  One  brief  look  in  the  glass  and  then 
I'm  ready. 

[Harry  enters. 

Harry.     She's  just  coming. 

(if-oKGE.      I  bet  she's  powdering  her  nose. 


26  EAST  OF  SUEZ  [scene  ii 

Daisy.     Here  I  am. 

[Daisy  enters.  She  is  an  extremely  pretty  woman, 
beautifully,  perhaps  a  little  showily,  dressed.  She 
has  a  pale,  very  clear,  slightly  sallow  skin,  and  beauti- 
ful dark  eyes.  There  is  only  the  very  faintest  sus- 
picion in  them  of  the  Chinese  slant.  Her  hair  is 
abundant  and  black. 
Harry.     This  is  George  Conway,  Daisy. 

[George  stares  at  her.     At  first  he  is  not  quite  sure  that 

he  recognizes  her,  then  suddenly  he  does,  but  only  the 

slightest  movement  of  the  eyes  betrays  him. 

Daisy.     How  do  you  do.     I  told  Harry  I  had  an  idea 

I  must  have  met  you  somewhere.     I  don't  think  I  have 

after  all. 

Harry.  George  flatters  himself  he's  not  easily  for- 
gotten. 

Daisy.     But  I've  heard  so  much  about  you  from  Harry 
that  I  feel  as  though  we  were  old  friends. 
George.     It's  very  kind  of  you  to  say  so. 
Harry.     Supposing  you  poured  out  the  tea,  Daisy. 
George.     I'm  dying  for  a  cup. 

[She  sits  down  and  proceeds  to  do  so. 
Daisy.     Harry  is   very  anxious  that  you  should  like 
me. 

Harry.  George  and  I  have  known  one  another  since 
we  were  kids.  His  people  and  mine  live  quite  close  to  one 
another  at  home. 

Daisy.  But  I'm  not  blaming  you.  I'm  only  wondering 
how  I  shall  ingratiate  myself  with  him. 

Harry.     He  looks  rather  severe,  but  he  isn't  really.     I 
think  you've  only  got  to  be  your  natural  charming  self. 
Daisy.     Have  you  told  him  about  the  house.? 
Harry.     No.     [To  George.]     You  know  the  temple  the 
Harrisons  used  to  have.     We've  taken  that. 

George.  Oh,  it's  a  ripping  place.  But  won't  you  find 
it  rather  a  nuisance  to  have  those  old  monks  on  the  top  of 
you  all  the  time? 


SCENE  ii]  EAST  OF  SUEZ  27 

Harry.  Oh,  I  don't  think  so.  Our  part  is  quite 
separate,  you  know,  and  the  Harrisons  made  it  very 
comfortable. 

[Harold  Knox  comes  in.     He  has  changed  into  tennis 
things. 

Knox.  I  say,  Harry  .  .  .  [He  sees  Daisy.]  Oh,  I 
beg  your  pardon. 

Harry.     Mr.  Knox — Mrs,  Rathbone. 

[Knox  gives  her  a  curt  nod,  but  she  holds  out  her  hand 
affably.     He  takes  it. 

Daisy.     How  do  you  do. 

Knox.  I'm  sorry  to  disturb  you,  Harry,  but  old  Ku 
Faung  Min  is  downstairs  and  wants  to  see  you. 

Harry.     Tell  him  to  go  to  blazes.     The  office  is  closed. 

Knox.  He's  going  to  Hankow  tonight  and  he  says  he 
must  see  you  before  he  goes.  He's  got  some  big  order  to 
give. 

Harry.  Oh,  curse  him.  I  know  what  he  is.  He'll 
keep  me  talking  for  half  an  hour.  D'you  mind  if  I  leave 
you .'' 

Daisy.  Of  course  not.  It'll  give  me  a  chance  of  mak- 
ing Mr.  Conway's  acquaintance. 

Harry.     I'll  get  rid  of  him  as  quickly  as  I  can. 

[He  goes  out  accompanied  by  Knox. 

Knox.     [As  he  goes.]     Good-bye. 

[George  looks  at  Daisy  for  a  moment.     She  smiles  at 
him.     There  is  a  silence. 

George.  Why  didn't  you  warn  me  that  it  was  you  I 
was  going  to  meet? 

Daisy.  I  didn't  know  what  you'd  say  about  me  to 
Harry  if  you  knew. 

George.  It  was  rather  a  risk,  wasn't  it?  Supposing 
I'd  blurted  out  the  truth. 

Daisy.  I  trusted  to  your  diplomatic  training.  Besides, 
I'd  prepared  for  it.     I  told  him  1  thought  I'd  met  you. 

George.  Harry  and  I  have  been  pals  all  our  lives.  I 
brought  him  out  to  China  and  I  got  him  his  job.    When  he 


28  EAST  OF  SUEZ  [scene  ii 

had  cholera  he  would  have  died  if  I  hadn't  pulled  him 
through. 

Daisy.  I  know.  And  in  return  he  worships  the  ground 
you  tread  on.  I've  never  known  one  man  think  so  much 
of  another  as  he  does  of  you. 

George.  All  that's  rot,  of  course.  Sometimes  I  don't 
know  how  I'm  going  to  live  up  to  the  good  opinion  Harry 
has  of  me.  But  when  you've  done  so  much  for  a  pal  as 
I  have  for  him  it  gives  you  an  awful  sense  of  responsibility 
towards  him. 

Daisy.     What  do  you  mean  by  that? 

[A  short  pause. 

George.     I'm  not  going  to  let  you  marry  him. 

Daisy.  He's  so  much  in  love  with  me  that  he  doesn't 
know  what  to  do  with  himself. 

George.  I  know  he  is.  But  if  you  were  in  love  with 
him  you  wouldn't  be  so  sure  of  it. 

Daisy.  [With  a  sudden  change  of  tone.]  Why  not?  I 
was  sure  of  your  love.  And  God  knows  I  was  in  love  with 
you. 

[George  makes  a  gesture  of  dismay.     He  is  taken  aback 
for  a  moment,  hut  he  quickly  recovers. 

George.  You  don't  know  what  sort  of  a  man  Harry  is. 
He's  not  like  the  fellows  you've  been  used  to.  He's  never 
knocked  around  as  most  of  us  do.  He's  always  been  as 
straight  as  a  die. 

Daisy.     I  know. 

George.  Have  mercy  on  him.  Even  if  there  were 
nothing  else  against  you  he's  not  the  sort  of  chap  for  you 
to  marry.     He's  awfully  English. 

Daisy.  If  he  doesn't  mind  marrying  a  Eurasian  I 
really  don't  see  what  business  it  is  of  yours. 

George.  But  you  know  very  well  that  that  isn't  the 
only  thing  against  you. 

Daisy.     I  haven't  an  idea  what  you  mean. 

George.  Haven't  you?  You  forget  the  war.  When 
we  heard  there  was  a  very  pretty  young  woman,  appar- 


SCENE  II]  EAST  OF  SUEZ  29 

ently  with  plenty  of  money,  living  at  the  Hong  Kong  Hotel 
on  very  familiar  terms  with  a  lot  of  naval  fellows,  it  be- 
came our  business  to  make  enquiries.  I  think  I  know 
everything  there  is  against  you. 

Daisy.  Have  you  any  right  to  make  use  of  information 
you've  acquired  officially.'' 

George.     Don't  be  a  fool,  Daisy. 

Daisy.  [Passionately.]  Tell  him  then.  You'll  break 
his  heart.  You'll  make  him  utterly  wretched.  But  he'll 
marr}'  me  all  the  same.  When  a  man's  as  much  in  love 
as  he  is  he'll  forgive  everything. 

George.  I  think  it's  horrible.  If  you  loved  him  you 
couldn't  marry  him.     It's  heartless. 

Daisy.  [Fiolently.]  How  dare  you  say  that.?  You. 
You.  You  know  what  I  am.  Yes,  it's  all  true.  I  don't 
know  what  you  know  but  it  can't  be  worse  than  the 
truth.  And  whose  fault  is  it.?  Yours.  If  I'm  rotten 
it's  you  who  made  me  rotten. 

George.  I?  No.  You've  got  no  right  to  say  that. 
It's  cruel.     It's  infamous. 

Daisy.  I've  touched  you  at  last,  have  If  Because 
you  know  it's  true.  Don't  you  remember  when  I  first 
came  to  Chung-king?  I  was  seventeen.  My  father  had 
sent  me  to  England  to  school  when  I  was  seven.  I  never 
saw  him  for  ten  years.  And  at  last  he  wrote  and  said  I 
was  to  come  back  to  China.  You  came  and  met  me  on  the 
boat  and  told  me  my  father  had  had  a  stroke  and  was  dead. 
You  took  me  to  the  Presbyterian  mission. 

George.  That  was  my  job.  I  was  awfully  sorry  for 
you. 

Daisy.  And  then  in  a  day  or  two  you  came  and  told 
me  that  my  father  hadn't  left  anything  and  what  there  was 
went  to  his  relations  in  P^ngland. 

George.     Naturally  he  didn't  expect  to  die. 

Daisy.  [Passionately.]  If  he  was  going  to  leave  me  like 
that  why  dichi't  he  let  me  stay  with  my  Chinese  mother? 
Why  did  he  bring  me  up  like  a  lady?     Oh,  it  was  cruel. 


so  EAST  OF  SUEZ  [scene  ii 

George.     Yes.     It  was  unpardonable. 

Daisy.  I  was  so  lonely  and  so  frightened.  You  seemed 
to  be  sorry  for  me.  You  were  the  only  person  who  was 
really  kind  to  me.  You  were  practically  the  first  man  I'd 
known.  I  loved  you.  I  thought  you  loved  me.  Oh, 
say  that  you  loved  me  then,  George. 

George.     You  know  I  did. 

Daisy.  I  was  very  innocent  in  those  days.  I  thought 
that  when  two  people  loved  one  another  they  married.  I 
wasn't  a  Eurasian  then,  George.  I  was  like  any  other 
English  girl.  If  you'd  married  me  I  shouldn't  be  what  I 
am  now.  But  they  took  you  away  from  me.  You  never 
even  said  good-bye  to  me.  You  wrote  and  told  me  you'd 
been  transferred  to  Canton. 

George.  I  couldn't  say  good-bye  to  you,  Daisy.  They 
said  that  if  I  married  you  I'd  have  to  leave  the  service. 
I  was  absolutely  penniless.  They  dinned  it  into  my  ears 
that  if  a  white  man  marries  a  Eurasian  he's  done  for.  I 
wouldn't  listen  to  them,  but  in  my  heart  I  knew  it  was 
true. 

Daisy.  I  don't  blame  you.  You  wanted  to  get  on, 
and  you  have,  haven't  you?  You're  Assistant  Chinese 
Secretary  already  and  Harry  says  you'll  be  Minister  before 
you've  done.  It  seems  rather  hard  that  I  should  have  had 
to  pay  the  price. 

George.  Daisy,  you'll  never  know  what  anguish  I 
suffered.  I  can't  expect  you  to  care.  It's  very  natural 
if  you  hate  me.  I  was  ambitious.  I  didn't  want  to  be  a 
failure.  I  knew  that  it  was  madness  to  marry  you.  I 
had  to  kill  my  love.  I  couldn't.  It  was  stronger  than  I 
was.  At  last  I  couldn't  help  myself.  I  made  up  my  mind 
to  chuck  everything  and  take  the  consequences.  I  was 
just  starting  for  Chung-king  when  I  heard  you  were  living 
in  Shanghai  with  a  rich  Chinaman. 

[Daisy  gives  a  little  moan.  There  is  a  silence. 

Daisy.  They  hated  me  at  the  mission.  They  found 
fault  with  me  from  morning  till  night.    They  blamed  me 


scEXE  II]  EAST  OF  SUEZ  31 

because  you  wanted  to  marry  me  and  they  treated  me  as 
if  I  was  a  designing  cat.  When  you  went  away  they 
heaved  a  sigh  of  rehef.  Then  they  started  to  convert  me. 
They  thought  I'd  better  become  a  school  teacher.  They 
hated  me  because  I  was  seventeen.  They  hated  me  be- 
cause I  was  pretty.  Oh,  the  brutes.  They  killed  all  the 
religion  I'd  got.  There  was  only  one  person  who  seemed 
to  care  if  I  was  alive  or  dead.  That  was  my  mother.  Oh, 
I  was  so  ashamed  the  first  time  I  saw  her.  At  school  in 
England  I'd  told  them  so  often  that  she  was  a  Chinese 
princess  that  I  almost  believed  it  myself.  My  mother 
was  a  dirty  little  ugly  Chinawoman.  I'd  forgotten  all 
my  Chinese  and  I  had  to  talk  to  her  in  English.  She 
asked  me  if  I'd  like  to  go  to  Shanghai  with  her.  I  was 
ready  to  do  anything  in  the  world  to  get  away  from  the 
mission  and  I  thought  in  Shanghai  I  shouldn't  be  so  far 
away  from  you.  They  didn't  want  me  to  go,  but  they 
couldn't  keep  me  against  my  will.  When  we  got  to 
Shanghai  she  sold  me  to  Lee  Tai  Cheng  for  two  thousand 
dollars. 

George.     How  terrible. 

Daisy.  I've  never  had  a  chance.  Oh,  George,  isn't  it 
possible  for  a  woman  to  turn  over  a  new  leaf.''  You  say 
that  Harry's  good  and  kind.  Don't  you  see  what  that 
means  to  me.''  Because  he'll  think  me  good  I  shall  be 
good.  After  all,  he  couldn't  have  fallen  in  love  with  me 
if  I'd  been  entirely  worthless.  I  hate  the  life  I've  led. 
1  want  to  go  straight.  I  swear  I'll  make  him  a  good  wife. 
CJh,  George,  if  you  ever  loved  me  have  pity  on  me.  If 
Harry  doesn't  marry  me  I'm  done, 

CiEORGE.  How  can  a  marriage  be  happy  that's  founded 
on  a  tissue  of  lies.^ 

Daisy.     I've  never  told  Harry  a  single  lie. 

George.  You  told  him  you  hadn't  been  happily  mar- 
ried. 

Daisy.     That  wasn't  a  lie. 

George.     You  haven't  been  married  at  all. 


82  EAST  OF  SUEZ  [scene  ii 

Daisy.  [fFith  a  roguish  look.]  Well  then,  I  haven't 
been  happily  married,  have  I? 

George.     Who  was  this  fellow  Rathbone? 

Daisy.  He  was  an  American  in  business  at  Singapore. 
I  met  him  in  Shanghai.  I  hated  Lee.  Rathbone  asked 
me  to  go  to  Singapore  with  him  and  I  went.  I  lived  with 
him  for  four  years. 

George.    Then  you  went  back  to  Lee  Tai  Cheng. 

Daisy.  Rathbone  died.  There  was  nothing  else  to 
do.  My  mother  was  always  nagging  me  to  go  back  to  him. 
He's  rich  and  she  makes  a  good  thing  out  of  it. 

George.     I  thought  she  was  dead. 

Daisy.  No.  I  told  Harry  she  was  because  I  thought  it 
would  make  it  easier  for  him. 

George.     She  isn't  with  you  now,  is  she."* 

Daisy.  No,  she  Hves  at  Ichang.  She  doesn't  bother 
me  as  long  as  I  send  her  something  every  month. 

George.  Why  did  you  tell  Harry  that  you  were 
twenty-two?  It's  ten  years  since  you  came  to  China  and 
you  were  seventeen  then. 

Daisy.     [With  a  twinkle  in  her  eye.]     Any  woman  of  my 
age  will  tell  you  that  seventeen  and  ten  are  twenty-two. 
[George  does  not  smile.     With  frowning  brow  he  walks 
up  and  down. 

George.  Oh,  I  wish  to  God  I  knew  nothing  about  you. 
I  can't  bring  myself  to  tell  him  and  yet  how  can  I  let  him 
marry  you  in  absolute  ignorance?  Oh,  Daisy,  for  your 
sake  as  well  as  for  his  I  beseech  you  to  tell  him  the  whole 
truth  and  let  him  decide  for  himself. 

Daisy.  And  break  his  heart?  There's  not  a  mis- 
sionary who  believes  in  God  as  he  believes  in  me.  If  he 
loses  his  trust  in  me  he  loses  everything.  Tell  him  if  you 
think  you  must,  if  you  have  no  pity,  if  you  have  no  regret 
for  all  the  shame  and  misery  you  brought  on  me,  you,  you, 
you — but  if  you  do,  I  swear,  I  swear  to  God  that  I  shall 
kill  myself.     I  won't  go  back  to  that  hateful  life. 

[He  looks  at  her  earnestly  for  a  momeni. 


SCENE  n]  EAST  OF  SUEZ  33 

George.  I  don't  know  if  I'm  doing  right  or  wrong. 
I  shall  tell  him  nothing. 

[Daisy  gives  a  deep  sigh  of  relief.     Harry  comes  in. 

Harry.  I  say,  I'm  awfully  sorry  to  have  been  so  long. 
I  couldn't  get  the  old  blighter  to  go. 

Daisy.  [With  complete  self-control.]  If  I  say  you've 
been  an  age  it'll  look  as  though  Mr.  Conway  had  been 
boring  me. 

Harry.     I  hope  you've  made  friends. 

Daisy.     [To  George.]     Have  we.? 

George.  I  hope  so.  But  now  I  think  I  must  bolt.  I 
have  a  long  Chinese  document  to  translate.  [Holding 
out  his  hand  to  Daisy.]     I  hope  you'll  both  be  very  happy. 

Daisy.     I  think  I'm  going  to  like  you. 

George.     Good-bye,  Harry,  old  man. 

Harry.     I  shall  see  you  later  on  in  the  club,  sha'n't  I? 

George.     If  I  can  get  through  my  work. 

[He  goes  out. 

Harry.  What  have  you  and  George  been  talking 
about? 

Daisy.  We  discussed  the  house.  It'll  be  great  fun 
buying  the  things  for  it. 

Harry.  I  could  have  killed  that  old  Chink  for  keeping 
me  so  long.  I  grudge  every  minute  that  I  spend  away 
from  you. 

Daisy.     It's  nice  to  be  loved. 

Harry.     You  do  love  me  a  little,  don't  you? 

Daisy.     A  little  more  than  a  little,  my  lamb. . 

Harry.  I  wish  I  were  more  worth  your  while.  You've 
made  mc  feel  so  dissatisfied  with  myself.  I'm  such  a 
rotter. 

Daisy.     You're  not  going  to  disagree  with  me  already. 

Harry.     What  about? 

Daisy.     About  you.     I  think  you're  a  perfect  duck. 

[The  Amah  appears. 

Harry.     Hulloa,  who's  this? 

Daisy.     Oh,  it's  my  amah. 


34  EAST  OF  SUEZ  [scene  ii 

Harry.     I  didn't  recognize  her  for  a  moment. 

Daisy.  She  doesn't  approve  of  my  being  alone  with 
strange  gentlemen.  She  looks  after  me  as  if  I  was  a  child 
of  ten. 

Amah,     Velly  late,  missy  Daisy.     Time  you  come  along. 

Harry.     Oh,  nonsense. 

Daisy.  She  wants  me  to  go  and  be  fitted.  She  never 
lets  me  go  out  in  Peking  alone. 

Harry.     She's  quite  right. 

Daisy.  Amah,  come  and  be  introduced  to  the  gentle- 
man.    He's  going  to  be  your  master  now. 

Amah.  [Smiling,  with  little  7iods.]  Velly  nice  gentle- 
man. You  keep  missy  Daisy  old  amah — yes.f"  Velly  good 
amah — yes? 

Daisy.     She's  been  with  me  ever  since  I  was  a  child. 

Harry.  Of  course  we'll  keep  her.  She  was  with  you 
when  you  were  in  Singapore.'' 

Daisy.  [With  a  little  sigh.]  Yes,  I  don't  know  what  I 
should  have  done  without  her  sometimes. 

Harry.  Oh,  Daisy,  I  do  want  to  make  you  forget  all 
the  unhappiness  you  have  suffered. 

[He  takes  her  in  his  arms  and  kisses  her  on  the  lips. 
The  Amah  chuckles  to  herself  silently. 


END   OF   SCENE   II. 


SCENE  III 


SCENE  III 

Scene:     The  Temple  of  Fidelity  and  Virtuous  Inclination. 
The  courtyard  of  the  temple  is  shown.     At  the  back  is  the 
sanctuary  in  which  is  seen  the  altar  table;  on  this  are  two 
large  vases  in  each  of  which  are  seven  lotus  flowers,  gilt 
hut  discoloured  by  incense,  and  in  the  middle  there  is  a 
sand-box  in  which  are  burning  joss-sticks;  behind  is 
the  image  of  Buddha.     The  sanctuary  can  be  closed  by 
huge  doors.     These  are  now  open.     A  flight  of  steps 
leads  up  to  it. 
A  service  is  finishing.     The  monks  are  seen  on  each  side  of 
the  altar  kneeling  in  two  rows.      They  are  clad  in  grey 
gowns  and  their  heads  are  shaven.     They  sing  the  invoca- 
tion to  Buddha,  repeating  the  same  zvords  over  and  over 
again  in  a  monotonous  chaunt.     Daisy  stands  outside 
the  sanctuary  door,  on  the  steps,  listlessly.     The  Amah 
is  squatting  by  her  side.     Now  the  service  ends;    the 
monks  form  a  procession  and  two  by  two,  still  singing, 
come  down  the  steps  and  go  out.     A  tiny  acolyte  blows 
out  the  oil  lamps  and  with  an  effort  shuts  the  temple 
doors. 
Daisy  comes  down  the  steps  and  sits  on  one  of  the  lower  ones. 
She  is  dreadfully  bored. 
Amah.     What  is  the  matter  with  my  pletty  one? 
Daisy.     What  should  be  the  matter? 
Amah.     [With  a  snigger.]     Hi,  hi.     Old  amah  got  velly 
good  eyes  in  her  head. 

Daisy.  [As  though  talking  to  herself.]  I've  got  a  hus- 
band who  adores  me  and  a  nice  house  to  live  in.  I've  got 
a  position  and  as  much  money  as  I  want.  I'm  safe.  I'm 
respectable.     1  ought  to  be  happy. 

87 


38  EASl    UF   SUEZ  [SCENE  III 

Amah.  I  say,  Harry  no  good,  what  for  you  wanchee 
marry?  You  say,  I  wanchee  marry,  I  wanchee  marry? 
Well,  you  married.     What  you  want  now? 

Daisy.  They  say  life  is  short.  Good  God,  how  long 
the  days  are. 

Amah.  You  want  pony — Harry  give  you  pony.  You 
want  jade  ring — Harry  give  you  jade  ring.  You  want 
sable  coat — Harry  give  you  sable  coat.  Why  you  not 
happy? 

Daisy.     I  never  said  I  wasn't  happy. 

Amah.     Hi,  hi. 

Daisy,     If  you  laugh  like  that  I'll  kill  you. 

Amah.  You  no  kill  old  amah.  You  want  old 
amah.  I  got  something  velly  pletty  for  my  little  Daisy 
flower. 

Daisy.  Don't  be  an  old  fool.  I'm  not  a  child  any 
more.  [Desperately.]  I'm  growing  older,  older,  older. 
And  every  day  is  just  like  every  other  day.  I  might  as 
well  be  dead. 

Amah.  Look  this  pletty  present  old  amah  have  got. 
[She  takes  a  jade  necklace  out  of  her  sleeve  and  puts  it, 
smiling,  into  Daisy's  hand. 

Daisy.  [With  sudden  vivacity.]  Oh,  what  a  lovely 
chain.  It's  beautiful  jade.  How  much  do  they  want 
for  it  ? 

Amah.     It's  a  present  for  my  little  Daisy. 

Daisy.  For  me?  It  must  have  cost  five  hundred  dol- 
lars.    Who  is  it  from? 

Amah.  To-day  is  my  little  Daisy's  wedding-day.  She 
have  married  one  year.  Perhaps  old  amah  want  to  give 
her  little  flower  present. 

Daisy.  YOU!  Have  you  ever  given  me  anything  but 
a  beating? 

Amah.  Lee  Tai  Cheng  pay  me  necklace  and  say  you 
give  to  Daisy. 

Daisy.  You  old  hag.  [She  flings  the  necklace  away 
violently.] 


SCENE  III]  EAST  OF  SUEZ  39 

Amah.  You  silly.  Worth  plenty  money.  You  no 
wanchee,  I  sell  rich  Amelican. 

[She  is  just  going  after  the  necklace,  when  Daisy  catches 
her  violently  by  the  arm. 

Daisy.  How  dare  you.^  How  dare  you?  I  told  you 
that  you  were  never  to  let  Lee  Tai  speak  to  you 
again. 

Amah.  You  very  angry,  Daisy.  You  very  angry 
before,  but  you  go  back  to  Lee  Tai;  he  think  perhaps  you 
go  back  again. 

Daisy.  Tell  him  that  I  loathe  the  sight  of  him.  Tell 
him  that  if  I  were  starving  I  wouldn't  take  a  penny  from 
him.  Tell  him  that  if  he  dares  to  come  round  here  I'll 
have  him  beaten  till  he  screams. 

Amah.     Hi,  hi. 

Daisy.  And  you  leave  me  alone,  will  you.  Harry 
hates  you.  I've  only  got  to  say  a  word  and  he'll  kick  you 
out  in  five  minutes. 

Amah.  What  would  my  little  Daisy  do  without  old 
amah,  hi,  hi.''  What  for  you  no  talkee  true.''  You  think 
old  amah  no  got  eyes?  [With  a  cunning,  arch  look.]  I 
got  something  make  you  very  glad.  [She  takes  a  note  out 
of  her  sleeve.] 

Daisy.     What's  that? 

Amah.     I  got  letter. 

Daisy.  [Snatching  it  from  her.]  Give  it  me.  How 
dare  you  hide  it? 

Amah.  Have  come  when  you  long  Harry.  I  think 
perhaps  you  no  wanchee  read  when  Harry  there.  [Daisy 
tears  it  open.]     What  he  say? 

Daisy.  [Reading.]  "I'm  awfully  sorry  I  can't  dine 
with  you  on  Thursday,  but  I'm  engaged.  I've  just 
remembered  it's  your  wedding-day  and  I'll  look  in  for  a 
minute.     Ask  Harry  if  he'd  like  tf)  ride  with  mc." 

Amah.     Is  that  all? 

Daisy.     "Yours  ever.     George  Conway." 

Amah.     You  love  him  very  much,  George  Conway? 


40  EAST  OF  SUEZ  [scene  hi 

Daisy.  [Taking  no  notice  of  her,  passionately.]  At  last. 
I  haven't  seen  him  for  ten  days.  Ten  mortal  days.  Oh, 
I  want  him.     I  want  him. 

Amah.     Why  you  no  talkee  old  amah? 

Daisy.  [Desperately.]  I  can't  help  myself.  Oh,  I  love 
him  so.  What  shall  I  do?  I  can't  live  without  him.  If 
you  don't  want  me  to  die  make  him  love  me. 

Amah.     You  see,  you  want  old  amah. 

Daisy.     Oh,  I'm  so  unhappy.     I  think  I  shall  go  mad. 

Amah.     Sh,  sh.     Perhaps  he  love  you  too. 

Daisy.  Never.  He  hates  me.  Why  does  he  avoid 
me?  He  never  comes  here.  At  first  he  was  always  look- 
ing in.  He  used  to  come  out  and  dine  two  or  three  days 
a  week.  What  have  I  done  to  him?  He  only  comes  now 
because  he  does  not  want  to  offend  Harry.  Harry,  Harry, 
what  do  I  care  for  Harry? 

Amah.  Sh.  Don't  let  him  see.  Give  amah  the  letter. 
[She  snatches  it  from  Daisy  and  hides  it  in  her  dress 
as  Harry  comes  in.     Daisy  pulls  herself  together. 

Harry.  I  say,  Daisy,  I've  just  had  the  ponies  saddled. 
Put  on  your  habit  and  let's  go  for  a  ride. 

Daisy.     I've  got  a  headache. 

Harry.     Oh,  my  poor  child.     Why  don't  you  lie  down  ? 

Daisy.  I  thought  I  was  better  in  the  air.  But  there's 
no  reason  why  you  shouldn't  ride. 

Harry.     Oh,  no,  I  won't  ride  without  you. 

Daisy.  Why  on  earth  not?  It'll  do  you  good.  You 
know  when  my  head's  bad  I  only  want  to  be  left  alone. 
Your  pony  wants  exercising. 

Harry.     The  boy  can  do  that. 

Daisy.  [Trying  to  conceal  her  growing  exasperation.] 
Please  do  as  I  ask.     I'd  rather  you  went. 

Harry.  [Laughing.]  Of  course  if  you're  so  anxious 
to  get  rid  of  me  .  .   . 

Daisy.  [Smiling.]  I  can't  bear  that  you  should  be 
done  out  of  your  ride.  If  you  won't  go  alone  you'll  just 
force  me  to  come  with  you. 


SCENE  III]  EAST  OF  SUEZ  41 

Harry.  I'll  go.  Give  me  a  kiss  before  I  do.  [She 
puts  up  her  lips  to  his.]  I'm  almost  ashamed  of  myself, 
I'm  just  as  madly  in  love  with  you  as  the  day  we  were 
married. 

Daisy.  You  are  a  dear.  Have  a  nice  ride,  and  when 
you  come  back  I  shall  be  all  right. 

Harry.     That's  ripping.     I  shan't  be  ver}^  long. 

[He  goes  out.  The  lightness,  the  smile,  with  which  she 
has  spoken  to  Harry  disappear  as  he  goes,  and  she 
looks  worried  and  anxioics. 

Daisy.     Supposing  they  meet? 

Amah.     No  can.     Harry  go  out  back  way. 

Daisy.  Yes,  I  suppose  he  will.  I  wish  he'd  be  quick. 
[Violently.]     I  must  see  George. 

Amah.  [Picking  up  the  necklace.)  Velly  pletty  neck- 
lace.    You  silly  girl.     Why  you  no  take? 

Daisy.  Oh,  damn,  why  can't  you  leave  me  alone? 
[Listening.]  What  on  earth  is  Harry  doing?  I  thought 
the  pony  was  saddled. 

Amah.  [Looking  at  the  necklace.]  What  shall  I  do  with 
this? 

Daisy.     Throw  it  in  the  dust-bin. 

Amah.     Lee  Tai  no  likee  that  very  much. 

Daisy.  [Hearing  the  sound  of  the  pony,  with  a  sigh  of 
relief.]  He's  gone.  Now  I'm  safe.  Where's  my  bag? 
[She  takes  a  little  mirror  out  of  it  and  looks  at  herself.]  I 
look  perfectly  hideous. 

Amah.     Don't  be  silly.     You  velly  pletty  girl. 

Daisy.  [Her  ears  all  alert.]  There's  someone  riding 
along. 

Amah.     That  not  pony.     That  Peking  cart. 

Daisy.  You  old  fool,  I  tell  you  it's  a  pony.  At  last. 
Oh,  my  heart's  beating  so.  .  .  .  It's  stopping  at  the 
gate.  It's  George.  Oh,  I  love  him.  I  love  him.  [To 
the  Amah,  stamping  her  foot.]  What  arc  you  waiting  for? 
I  don't  want  you  here  now,  and  don't  listen,  d'you  hear. 
Get  out,  get  out. 


44  EAST  OF  SUEZ  [scene  hi 

Amah.     All-light.     My  go  away. 

[The  Amah  sliriks  away.  Daisy  stands  waiting  for 
George,  holding  her  hands  to  her  heart  as  though  to 
stop  the  anguish  of  its  beating.  She  makes  a  great 
effort  at  self-control  as  George  enters.  He  is  in 
riding  kit.     He  has  a  bunch  of  orchids  in  his  hand. 

George.     Hulloa,  what  are  you  doing  here.'' 

Daisy.     I  was  tired  of  sitting  in  the  drawing-room. 

George.  I  remembered  it  was  your  wedding-day. 
I've  brought  you  a  few  flowers.  [She  takes  them  with  both 
hands.] 

Daisy.     Thank  you.     That  is  kind  of  you. 

George.  [Gravely.]  I  hope  you'll  always  be  very 
happy.  I  hope  you'll  allow  me  to  say  how  grateful  I  am 
that  you've  given  Harry  so  much  happiness. 

Daisy.  You're  very  solemn.  One  would  almost  think 
you'd  prepared  that  pretty  speech  beforehand. 

George.  [Trying  to  take  it  lightly.]  I'm  sorry  if  it 
didn't  sound  natural.  I  can  promise  you  it  was 
sincere. 

Daisy.     Shall  we  sit  down.? 

George.  I  think  we  ought  to  go  for  our  ride  while 
the  light  lasts.  I'll  come  in  and  have  a  drink  on  the  way 
back. 

Daisy.     Harry's  out. 

George.  Is  he?  I  sent  you  a  note  this  morning.  I 
said  I  couldn't  dine  on  Thursday  and  I'd  come  and  fetch 
Harry  for  a  ride  this  afternoon. 

Daisy.     I  didn't  tell  him. 

George.     No.? 

Daisy.     I  don't  see  you  very  often  nowadays. 

George.  There's  an  awful  lot  of  work  to  do  just  now. 
They  lead  me  a  dog's  life  at  the  legation. 

Daisy.  Even  at  night?  At  first  you  used  to  come  and 
dine  with  us  two  or  three  nights  a  week. 

George.  I  can't  always  be  sponging  on  you.  It's 
positively  indecent. 


SCENE  ni]  EAST  OF  SUEZ  43 

Daisy.  We  don't  know  many  people.  It's  not  always 
very  lively  here.  I  should  have  thought  if  you  didn't 
care  to  come  for  my  sake  you'd  have  come  for  Harry's. 

George.     I  come  whenever  you  ask  me. 

Daisy.     You  haven't  been  here  for  a  month. 

George.  It  just  happens  that  the  last  two  or  three 
times  you've  asked  me  to  dine  I've  been  engaged. 

Daisy.  [Her  voice  breaking.]  You  promised  that 
we'd  be  friends.  What  have  I  done  to  turn  you  against 
me.'' 

George.  [His  armour  pierced  by  the  emotion  in  her 
voice.]     Oh,  Daisy,  don't  speak  like  that. 

Daisy.  I've  tried  to  do  everything  I  could  to  please 
you.  If  there's  anything  I  do  that  you  don't  like,  won't 
you  tell  me?     I  promise  you  I  won't  do  it. 

George.  Oh,  my  dear  child,  you  make  me  feel  such 
an  awful  beast. 

Daisy.     Is  it  the  past  that  you  can't  forget? 

George.  Good  heavens,  no,  what  do  I  care  about  the 
past  ? 

Daisy.  I  have  so  few  friends.  I'm  so  awfully  fond 
of  you,  George. 

George.  I  don't  think  I've  given  you  much  cause  to 
be  that. 

Daisy.  There  must  be  some  reason  why  you  won't 
ever  come  near  me.     Why  won't  you  tell  me? 

George.  Oh,  it's  absurd,  you're  making  a  mountain 
out  of  a  molehill. 

Daisy.  You  used  to  be  so  jolly,  and  we  used  to  laugh 
together.  I  looked  forward  so  much  to  your  coming  here. 
What  has  changed  you? 

George.     Nothing  has  changed  me. 

Daisy.  [With  a  passion  of  despair.]  Oh,  I  might  as 
well  batter  my  head  against  a  brick  wall.  How  can  you 
be  so  unkind  to  me? 

George.  For  God's  sake  .  .  .  [He  stops.]  Heaven 
knows,  I  don't  want  to  be  unkind  to  you. 


44  EAST  OF  SUEZ  [scene  hi 

Daisy.     Then  why  do  you  treat  me  as  an  outcast  ?    Oh, 
it's  cruel,  cruel. 

[George  is  excessively  distressed.  He  walks  up  and 
down,  frowning.  He  cannot  bear  to  look  at  Daisy 
and  he  speaks  with  hesitation. 
George.  You'll  think  me  an  awful  rotter,  Daisy,  hut 
you  can't  think  me  more  of  a  rotter  than  I  think  myself. 
I  don't  know  how  to  say  it.  It  seems  such  an  awful  thing 
to  say.  I'm  so  ashamed  of  myself.  I  don't  suppose  two 
men  have  ever  been  greater  pals  than  Harry  and  I.  He's 
married  to  you  and  he's  awfully  in  love  with  you.  And 
I  think  you're  in  love  with  him.  I  was  only  twenty-three 
when  I — first  knew  you.  It's  an  awful  long  time  ago, 
isn't  it?  There  are  some  wounds  that  never  quite  heal, 
you  know.  Oh,  my  God,  don't  you  understand.?  [His 
embarrassment,  the  distraction  of  his  tone,  and  the  way  the 
halting  words  fall  unwillingly  from  his  lips  have  betrayed 
the  truth  to  Daisy.  She  does  not  speak,  she  does  not  stir, 
she  looks  at  him  with  great  shining  eyes.  She  hardly  dares 
to  breathe.]  If  ever  you  wanted  revenge  on  me  you've  got 
it  now.  You  must  see  that  it's  better  that  I  shouldn't 
come  here  too  often.     Forgive  me — Goodby. 

[He   hurries   away   with   averted  face.     Daisy  stands 
motionless,  erect;    she  is  almost  transfigured.     She 
draws  a  long  breath. 
Daisy.     Oh,  God!     He  loves  me. 

[She  takes  the  orchids  he  has  brought  her  and  crushes 
them  to  her  heart.     The  Amah  appears. 
Amah.     You  wantchee  buy  Manchu  dress,  Daisy? 
Daisy.     Go  away. 

Amah.     Velly  cheap.-   You  look  see.     No  likee,  no  buy. 
Daisy.     [Impatiently]     I'm  sick  of  curio-dealers. 
Amah.     Velly  pletty  Manchu  dresses. 

[She  draws  aside  a  little  and  allows  a  7nan  with  a  large 
bundle  wrapped  up  in  a  blue  cotton  cloth  to  come  in. 
He  is  a  Chinese.  He  is  dressed  in  a  long  black  robe  and 
a  round  black  cap.     It  is  Lee  Tai  Cheng.     He  is 


SCENE  III]  EAST  OF  SUEZ  45 

big  and  rather  stout.  From  his  smootn.  and  yellow 
face  his  black  eyes  gleam  craftily.  He  lays  his  bundle 
on  the  ground  and  unties  it,  shozving  a  pile  of  gorgeous 
Manchu  dresses.  Daisy  has  taken  no  notice  of  him. 
Suddenly  she  sees  that  a  man,  with  his  back  turned  to 
her,  is  there. 

Daisy.  [To  the  Amah.]  I  told  you  I  wouldn't  see  the 
man.     Send  him  away  at  once. 

Lee  Tai.  [Turning  round,  with  a  sly  smile.]  You  look 
see.     No  likee,  no  buy. 

Daisy.     [With  a  start  of  suprise  and  dismay.]     Lee! 

Lee  Tai.  [Coming  forward  coolly.]  Good  afternoon, 
Daisy. 

Daisy.  [Recovering  herself.]  It's  lucky  for  you  I'm 
in  a  good  temper  or  I'd  have  you  thrown  out  by  the  boys. 
What  have  you  brought  this  junk  for? 

Lee  Tai.  A  curio-dealer  can  come  and  go  and  no  one 
wonders. 

Amah.     Lee  Tai  velly  clever  man. 

Daisy.  Give  me  that  chain.  [The  Amah  takes  it  out 
of  her  sleeve  and  gives  it  to  her.  Daisy  fl  171  gs  it  contemptu- 
ously at  Lee  Tai's  feet.]  Take  it.  Pack  up  your  things 
and  go.  If  you  ever  dare  to  show  your  face  here  again, 
I'll  tell  my  husband. 

Lee  Tai.  [With  a  chuckle.]  What  will  you  tell  him? 
Don't  you  be  a  silly  girl,  Daisy. 

Daisy.     What  do  you  want? 

Lee  Tai.     (Coolly.]     You. 

Daisy.  Don't  you  know  that  I  loathe  you?  You 
disgust  me. 

Lee  Tai.  What  do  I  care?  Perhaps  if  you  loved  me  I 
shouldn't  want  you.  Your  hatred  is  like  a  sharp  and 
bitter  sauce  that  tickles  my  appetite. 

Daisy.     You  beast. 

Lee  Tai.  I  like  the  horror  that  makes  your  body  trem- 
ble when  I  hold  you  in  my  arms.  And  sometimes  the 
horror  turns  on  a  sudden  into  a  wild  tempest  of  passion. 


46  EAST  OF  SUEZ  [scene  hi 

Daisy.     You  liar. 

Lee  Tai.  Leave  this  stupid  white  man.  What  is  he 
to  you? 

Daisy.     He  is  my  husband. 

Lee  Tai.  It  is  a  year  to-day  since  you  were  married. 
WTiat  has  marriage  done  for  you  ?  You  thought  when  you 
married  a  white  man  you'd  become  a  white  woman.  Do 
you  think  they  can  look  at  you  and  forget?  How  many 
white  women  do  you  know?  How  many  friends  have  you 
got?  You're  a  prisoner.  I'll  take  you  to  Singapore  or 
Calcutta.  Don't  you  want  to  amuse  yourself?  Do  you 
want  to  go  to  Europe?  I'll  take  you  to  Paris.  I'll  give 
you  more  money  to  spend  in  a  week  than  your  husband 
earns  in  a  year. 

Daisy.     I'm  very  comfortable  in  Peking,  thank  you. 

Lee  Tax.  [Snapping  his  fingers.]  You  don't  care  that 
for  your  husband.  He  loves  you.  You  despise  him. 
Don't  you  wish  with  all  your  heart  that  you  hadn't  mar- 
ried him? 

Amah.  He  very  silly  white  man.  He  no  likee  Daisy's 
old  amah.  Perhaps  one  day  he  b'long  sick.  Daisy  cry 
velly  much  if  he  die? 

Daisy.     [Impatiently.]     Don't  be  such  a  fool. 

Amah.  Perhaps  one  day  he  drink  whisky  soda.  Oh, 
velly  ill,  velly  ill.  What's  the  matter  with  me?  No 
sabe.     No  can  stand.     Doctor  no  sabe.    Then  die.    Hi,  hi. 

Daisy.  You  silly  old  woman.  Harry's  not  a  China- 
man and  he  wouldn't  call  in  a  Chinese  doctor. 

Lee  Tax.  [With  a  smile.]  China  is  a  very  old  and  a 
highly  civilized  country,  Daisy.  When  anyone  is  in  your 
way,  it's  not  very  difficult  to  get  rid  of  him. 

Daisy.  [Scornfully.]  And  do  you  think  I'd  let  poor 
Harry  be  murdered  so  that  I  might  be  free  to  listen  to 
your  generous  proposals?  You  must  think  I'm  a  fool  if 
you  expect  me  to  risk  my  neck  for  that. 

Lee  Tai.  You  don't  take  any  risk,  Daisy.  You  know 
nothing. 


SCENE  ra]  EAST  OF  SUEZ  47 

Amah.     Lee  Tai  velly  clever  man,  Daisy. 

Daisy.  I  thought  so  once.  Lee  Tai,  you're  a  damned 
fool.     Get  out. 

Lee  Tai.     Freedom  is  a  very  good  thing,  Daisy. 

Daisy.     What  should  I  do  with  it? 

Lee  Tai.  Wouldn't  you  like  to  be  free  now?  [She 
looks  at  him  sharply.  She  wonders  if  it  can  possibly  be 
that  he  suspects  her  passion  for  George  Conway.  He  meets 
her  glance  steadily.]  One  day  Sen  Shi  Ming  was  sitting 
with  his  wife  looking  at  a  Tang  bronze  that  he  had  just 
bought  when  he  heard  someone  in  the  street  crying  for 
help.  Sen  Shi  was  a  very  brave  man  and  he  snatched  up 
a  revolver  and  ran  out.  Sen  Shi  forgot  that  he  had 
cheated  his  brother  out  of  a  house  in  Hatamen  Street  or 
he  would  have  been  more  prudent.  Sen  Shi  was  found 
by  the  watchman  an  hour  later  with  a  dagger  in  his 
heart.     Who  killed  cock-robin? 

Amah.     Hi,  hi.     Sen  Shi  velly  silly  man. 

Lee  Tai.  His  brother  knew  that.  They  had  grown 
up  together.  If  I  heard  cries  for  help  outside  my  house 
late  in  the  night,  I  should  a^k  myself  who  had  a  grudge 
against  me,  and  I  should  make  sure  the  door  was  bolted. 
But  white  men  are  very  brave.  White  men  don't  know 
the  Chinese  customs.  Would  you  be  very  sorry  if  an 
accident  happened  to  your  excellent  husband? 

Daisy.     I  wonder  what  you  take  me  for? 

Lee  Tai.  Why  do  you  pretend  to  me,  Daisy?  Do  you 
think  I  don't  know  you? 

Daisy.  The  door  is  a  little  on  the  left  of  you,  Lee  Tai. 
Would  you  give  yourself  the  trouble  of  walking  through  it? 

Lee  Tai.  [JVith  a  smile.]  I  go,  but  I  come  back.  Per- 
haps you'll  change  your  mind. 

[lie  ties  up  his  bundle  and  is  about  to  go.     Harry 
enters. 

Daisy.     Oh,  Harry,  you're  back  very  soon! 

Harry.  Yes,  the  pony  went  lame.  Fortunately  I 
hadn't  gone  far  before  I  noticed  it.     Who's  this? 


48  EAST  OF  SUEZ  [scene  hi 

Daisy.  It's  a  curlo-dealer.  He  has  nothing  I  want.  I 
was  just  sending  him  away. 

[Lee  Tai  takes  tip  his  bundle  arid  goes  out. 

Harry.  [Noticing  the  orchids,]  Someone  been  sending 
you  flowers? 

Daisy.    George. 

Harry.  Rather  nice  of  him.  [To  the  Amah.]  Run 
along,  amah,  I  want  to  talk  to  missy. 

A.MAH.     All  light. 

Harry.  And  don't  let  me  catch  you  listening  round 
the  corner. 

Amah.     My  no  listen.     What  for  I  listen? 

Harry.     Run  along — chop-chop. 

Amah.     Can  do.     [She  goes  out.] 

Harry.  [With  a  laugh.]  I  couldn't  give  you  a  greater 
proof  of  my  affection  than  consenting  to  have  that  old 
woman  around  all  the  time. 

Daisy.  I  don't  know  why  you  dislike  her.  She's 
devoted  to  me. 

Harry.  That's  the  only  reason  I  put  up  with  her.  She 
gives  me  the  creeps.  I  have  the  impression  that  she 
watches  every  movement  I  make. 

Daisy.     Oh,  what  nonsense! 

Harry.     And  I've  caught  her  eavesdropping. 

Daisy.  Was  it  amah  that  you  wanted  to  talk  to  me 
about? 

Harry.  No,  I've  got  something  to  tell  you.  How 
would  you  like  to  leave  Peking? 

Daisy.  [PFith  a  start,  suddenly  off  her  guard.]  Not  at 
all. 

Harry.  I'm  afraid  it's  awfully  dull  for  you  here, 
darling. 

Daisy.     I  don't  find  it  so. 

Harry.  You're  so  dear  and  sweet.  Are  you  sure  you 
don't  say  that  on  my  account? 

Daisy.     I'm  very  fond  of  Peking. 

Harry.     We've  been  married   a  year  now.     I   don't 


SCENE  III]  EAST  OF  SUEZ  49 

want  to  hurt  your  feelings,  darling,  but  it's  no  good  beating 
about  the  bush,  and  I  think  it's  better  to  be  frank. 

Daisy.  Surely  you  can  say  anything  you  like  to  me 
without  hesitation. 

Harry.  Things  have  been  a  little  awkward  in  a  way. 
The  women  I  used  to  know  before  we  married  left  cards 
on  you — 

Daisy.  Having  taken  the  precaution  to  discover  that 
I  should  be  out. 

Harry.  And  you  returned  those  cards  and  that  was 
the  end  of  it.  I  asked  George  what  he  thought  about  my 
taking  you  to  the  club  to  play  tennis  and  he  said  he 
thought  we'd  better  not  risk  it.  The  result  is  that  you 
don't  know  a  soul. 

Daisy.     Have  I  complained? 

Harry.  You've  been  most  awfully  decent  about  it, 
but  I  hate  to  think  of  your  spending  day  after  day  entirely 
by  yourself.     It  can't  be  good  for  you  to  be  so  much  alone. 

Daisy.  I  might  have  known  Mrs.  Chuan.  She's  a 
white  woman. 

Harry.  Oh,  my  dear,  she  was — heaven  knows  what 
she  was!  She's  married  to  a  Chinaman.  It's  horrible. 
She's  outside  the  pale. 

Daisy.  And  there's  Bertha  Raymond.  She's  very 
nice,  even  though  she  is  a  Eurasian. 

Harry.  I'm  sure  she's  very  nice,  but  wc  couldn't  very 
well  have  the  Raymonds  here  and  refuse  to  go  to  them. 
Her  brother  is  one  of  the  clerks  in  my  office.  I  don't 
want  to  seem  an  awful  snob  .  .  . 

Daisy.  You  needn't  hesitate  to  say  anything  about 
the  Eurasians.  You  can't  hate  and  despise  them  more 
than  I  do. 

Harry.  I  don't  hate  and  despise  them.  I  think  that's 
odious.  But  sometimes  they're  not  very  tactful.  I  d(in't 
know  that  I  much  want  one  of  my  clerks  to  come  and  sl.ip 
me  on  the  back  in  the  office  and  call  me  old  chap. 

Daisy.     Of  course  not. 


50  EAST  OF  SUEZ  [scene  in 

Harry.  The  fact  is  we've  been  trying  to  do  an  impos- 
sible thing.  It's  no  good  kicking  against  the  pricks. 
What  with  the  legations  and  one  thing  and  another 
Peking's  hopeless.     We'd  far  better  clear  out. 

Daisy.     But  if  I  don't  mind  why  should  you? 

Harry.  Well,  it's  not  very  nice  for  me  either.  It's 
for  my  sake  just  as  much  as  for  yours  that  I'd  be  glad  to 
go  elsewhere.  Of  course  everybody  at  the  club  knows  I'm 
married.  Some  of  them  ignore  it  altogether.  I  don't 
mind  that  so  much.  Some  of  them  ask  after  you  with  an 
exaggerated  cordiality  which  is  rather  offensive.  And 
every  now  and  then  some  fool  begins  to  slang  the  Eurasians 
and  everybody  kicks  him  under  the  table.  Then  he  re- 
members about  me  and  goes  scarlet.     By  God,  it's  hell. 

Daisy.  [Sulkily.]  I  don't  want  to  leave  Peking.  I'm 
very  happy  here. 

Harry.     Well,  darling,  I've  applied  for  a  transfer. 

Daisy.  [With  sudden  indignation.]  Without  saying  a 
word  to  me.'' 

Harry.  I  thought  you'd  be  glad.  I  didn't  want  to 
say  anything  till  it  was  settled. 

Daisy.  Do  you  think  I  am  a  child  to  have  everything 
arranged  for  me  without  a  word.?  [Trying  to  control  her- 
self.] After  all,  you'd  never  see  George.  Surely  you 
don't  want  to  lose  sight  of  your  only  real  friend. 

Harry.  I've  talked  it  over  with  George  and  he  thinks 
it's  the  best  thing  to  do. 

Daisy.     Did  he  advise  you  to  go? 

Harry.     Strongly. 

Daisy.  [Violently.]  I  won't  do  it.  I  won't  leave 
Peking. 

Harry.     Why  should  his  advice  make  the  difference? 

Daisy.  Why?  [She  is  confused  for  a  moment^  but 
quickly  recovers  herself.]  I  won't  let  George  Conway — or 
anybody  else — decide  where  I'm  to  go. 

Harry.     Don't  be  unreasonable,  darling. 

Daisy.     I  won't  go.     I  tell  you  I  won't  go. 


SCENE  ra]  EAST  OF  SUEZ  51 

Harry.  Well,  I'm  afraid  you  must  now.  It's  all  set- 
tled.    The  transfer  is  decided. 

Daisy.  [Bursting  into  tears.]  Oh,  Harry,  don't  take 
me  away  from  here.     I  can't  bear  it.     I  want  to  stay  here. 

Harry.  Oh,  darling,  how  can  you  be  so  silly!  You'll 
have  a  much  better  time  at  one  of  the  outports.  You  see, 
there  are  so  few  white  people  there  that  they  can't  afford 
to  put  on  frills.  They'll  be  jolly  glad  to  know  us  both. 
We  shall  lead  a  normal  life  and  be  like  everybody  else. 

Daisy.     [S^dkily.]     Where  do  you  want  to  go.? 

Harry.  I've  been  put  in  charge  of  our  place  at  Chung- 
king. 

Daisy.  [Starting  up  with  a  cry.]  Chung-king!  Of 
course  you'd  choose  Chung-king. 

Harry.     Why,  what's  wrong  with  it  ^.     Do  you  know  it  ? 

Daisy.  No — oh,  what  am  I  talking  about?  I'm  all 
confused.  Yes,  I  was  there  once  when  I  was  a  girl.  It's 
a  hateful  place. 

Harry.  Oh,  nonsense!  The  consul's  got  a  charming 
wife,  and  there  are  quite  a  nice  lot  of  people  there. 

Daisy.  [Distracted.]  Oh,  what  shall  I  do?  I'm  so 
unhappy.  If  you  cared  for  me  at  all  you  wouldn't  treat 
me  so  cruelly.  You're  ashamed  of  me.  You  want  to 
hide  me.  Why  should  I  bury  myself  in  a  hole  two  thou- 
sand miles  up  the  river?  I  won't  go!  I  won't  go!  I 
won't  go!     [She  bursts  into  a  storm  of  hysterical  weeping.] 

Harry.  [Trying  to  take  her  in  his  arms.]  Oh,  Daisy, 
for  God's  sake  don't  cry.  You  know  I'm  not  ashamed  of 
you.  I  love  you  more  than  ever.  I  love  you  with  all  my 
heart. 

Daisy.  [Drawing  away  jro7n  him.]  Don't  touch  me. 
Leave  me  alone.     I  hate  you. 

Harry.  Don't  say  that,  Daisy.  It  hurts  me  fright- 
fully. 

Daisy.     Oh,  go  away,  go  away! 

Harry.  [Seeking  to  reason  with  her.]  I  can't  leave  you 
like  this. 


52  EAST  OF  SUEZ  [scene  hi 

Daisy.  Go,  go,  go,  go,  go!  I  don't  want  to  see  you! 
Oh,  God,  what  shall  I  do? 

[Slu  flings  herself  dozen  on  the  steps,  weeping  hysteri- 
cally.    Harry,  much  distressed,  looks  at  her  in  per- 
plexity.    The  Amah  comes  in. 
Amah.     You  make  missy  cly.     You  velly  bad  man. 
Harry.     \Vh at  the  devil  do  you  want? 
Amah.     [Going   up   to    Daisy   and    stroking   her   head.] 
What  thing  he  talkee  my  poor  little  flower?     Maskee. 
He  belong  velly  bad  man. 

Harry.  Shut  up,  you  old  ...  I  won't  have  you  talk 
like  that.  I've  put  up  with  a  good  deal  from  you,  but  if 
you  try  to  make  mischief  between  Daisy  and  me,  by 
God,  I'll  throw  you  out  into  the  street  with  my  own 
hands. 

Amah.  What  thing  you  do  my  Daisy?  Don't  cly, 
Daisy. 

Harry.     Darling,  don't  be  unreasonable. 
Daisy.     Go  away,  don't  come  near  me.     I  hate  you. 
Harry.     How  can  you  say  anything  so  unkind? 
Daisy.     Send  him  away.     [She  begins  to  sob  again  more 
violently.] 

Amah.  You  go  away.  You  no  can  see  she  no  wanchee 
you.  You  come  back  bimeby.  My  sabe  talk  to  little 
flower. 

[Harry  hesitates  for  a  moment.     He  is  harassed  by  the 
scene.     Then  he  makes  up  his  mind  the  best  thing  is 
to  leave  Daisy  with  the  Amah.    He  goes  out.     Daisy 
raises  her  head  cautiously. 
Daisy.     Has  he  gone? 
Amah.     Yes.     He  go  drink  whisky  soda. 
Daisy.     Do  you  know  what  he  wants? 
Amah.     What  for  he  tell  me  no  listen?     So  fashion  I 
sabe  he   say   something  I   wanchee  hear.     He  wanchee 
you  leave  Peking. 
Daisy.     I  won't  go. 
Amah.     Harry   velly   silly   man.     He    alia   same   pig. 


SCENE  ni]  EAST  OF  SUEZ  53 

You  pull  thisa  way,  he  pull  thata  way.  If  Harry  say  you 
go  from  Peking — you  go. 

Daisy.     Never,  never,  never! 

Amah.  You  go  away  from  Peking  you  never  see  George 
anymore. 

Daisy.  I  should  die.  Oh,  I  want  him!  I  want  him  to 
love  me.  I  want  him  to  hurt  me.  I  want  .  .  .  [In  her 
passion  she  has  dug  her  hands  hard  into  the  Amah.] 

Amah.     [Pushing  away  Daisy's  hands.]     Oh! 

Daisy.  He  loves  me.  That's  the  only  thing  that 
matters.     All  the  rest  .  .  . 

Amah.  Harry  wanchee  you  go  Chung-king.  Mis- 
sionary ladies  like  see  you  again,  Daisy.  Perhaps  they  ask 
you  how  you  like  living  along  Lee  Tai  Cheng.  Perhaps 
somebody  tell  Harry. 

Daisy.  The  fool.  Of  all  the  places  in  China  he  must 
hit  upon  Chung-king. 

Amah.  You  know  Harry.  If  he  say  go  Chung-king, 
he  go.     You  cly,  he  velly  solly,  he  all  same  go. 

Daisy.  Oh,  I  know  his  obstinac}'.  When  he's  once 
made  up  his  mind — [Contemptuously .] — he  prides  himself 
on  his  firmness.     Oh,  what  shall  I  do? 

Amah.     I  think  more  better  something  happen  to  Harry. 

Daisy.     No,  no,  no! 

Amah.  What  you  flightened  for?  You  no  do  any- 
thing. I  tell  Lee  Tai  more  better  something  happen  to 
Harry.     I  say  you  not  velly  sorry  if  Harry  die. 

Daisy.  [Putting  her  hands  over  her  ears.]  Be  quiet! 
I  won't  listen  to  you. 

Amah.  [Roughly  tearing  her  hands  away.]  Don't  you  be 
such  a  big  fool,  Daisy.  You  go  to  Chung-king  and 
Harry  know  everything.     Maybe  he  kill  you. 

Daisy.     What  do  I  care? 

Amah.  You  go  to  Chung-king,  you  never  see  George 
no  more.  George,  he  love  my  little  Daisy.  When  Harry 
gone — George,  he  come  say  .  .  . 

Daisy.     Oh,  don't  tempt  me,  it's  horrible! 


54  EAST  OF  SUEZ  [scene  m 

Amah.     He  put  his  arms  round  you  and  you  feel  such 
a  little  small  thing,  you  hear  his  heart  beat  quick,  quick 
against  your  heart.     And  he  throw  back  your  head  and 
he  kiss  you.     And  you  think  you  die,  little  flower. 
Daisy.     Oh,  I  love  him,  I  love  him! 
Amah.     Hi,  hi. 

Daisy.  [Thinking  of  the  scene  with  George.]  He  would 
hardly  look  at  me  and  his  hands  were  trembling.  He  was 
as  white  as  a  sheet. 

Amah.     [Persuasively.]     I    tell    you,    Daisy.     You    no 
say  yes,  you  no  say  no.     I  ask  Buddha. 
Daisy.     [Frightened.]     Wliatfor.'' 

Amah.  If  Buddha  say  yes,  I  talk  with  Lee  Tai;  if 
Buddha  say  no,  I  do  nothing.  Then  you  go  to  Chung- 
king and  you  never  see  George  any  more. 

[The  Amah  goes  up  the  temple  steps  and  flings  open  the 

great  doors.     Daisy  watches  her  with  an  agony  of 

horror,   expectation,   and  dread.     The  Amah   lights 

some  joss-sticks  on  the  altar,  and  strikes  a  deep-toned 

gong.     Harry  comes  in,  followed  by  Lee  Tai  with 

his  bundle. 

Harry.     [Anxious  to  make  his  peace.]     Daisy,  I  found 

this  fellow  hanging  about  in  the  courtyard.     I  thought  I'd 

like  to  buy  you  a  Manchu  dress  that  he's  got. 

Daisy.  [After  a  moments  reflection,  with  a  change  of 
tone.]     That's  very  nice  of  you,  Harry. 

Harry.     It's  a  real  beauty.     You'll  look  stunning  in  it. 

Lee    Tai.     [Showing    the    dress,    speaking    in    Pidgin 

English.]     Firs  class  dless.     He  belong  Manchu  plincess. 

Manchus   no  got  money.     No  got  money,  no  can  chow. 

Manchus  sell  velly  cheap.     You  takee,  Missy. 

[Daisy  and  Lee  Tai  exchange  glances.  Daisy  is  grave 
and  tragic,  whereas  Lee  Tai  has  an  ironical  glint  in 
his  eyes.  Meanwhile  the  Amah  has  been  bowing 
before  the  altar.  She  goes  down  on  her  knees  and 
knocks  her  head  on  the  ground. 
Harry.     What  in  God's  Name  is  amah  doing? 


SCENE  in]  EAST  OF  SUEZ  55 

Daisy.     She's  asking  Buddha  a  question. 

Harry.     What  question? 

Daisy.     [With  a  shadow  of  a  smile \    How  should  I  know  ? 

Harry.     What's  the  idea? 

Daisy.  Haven't  you  ever  seen  the  Chinese  do  it? 
You  see  those  pieces  of  wood  she's  holding  in  her  hands. 
She's  holding  them  out  to  the  Buddha  so  that  he  may  see 
them  and  she's  telling  him  that  he  must  answer  the  ques- 
tion. [Meanzohile  the  Amah,  muttering  in  a  low  tone,  is 
seen  doing  what  Daisy  describes.]  The  Buddha  smells  the 
incense  of  the  burning  joss-sticks,  and  he's  pleased  and 
he  listens  to  what  she  says. 

Harry.  [Smiling.]  Don't  be  so  absurd,  Daisy.  One 
might  almost  think  you  believed  all  this  nonsense.  Why, 
you're  quite  pale. 

Daisy.  Then  she  gets  up.  The  pieces  of  wood  are 
flat  on  one  side  and  round  on  the  other.  She'll  lift  them 
above  her  head  and  she'll  drop  them  in  front  of  the 
Buddha.  If  they  fall  with  the  round  side  uppermost  it 
means  yes.  [Daisy  kus  been  growing  7nore  and  more 
excited  as  the  ceremony  proceeds.  Now  the  Amah  steps  back 
a  little  and  she  raises  her  arms.  Daisy  gives  a  shriek  and 
starts  to  run  forward.]     No!    no!     Stop! 

Harry.     [Instinctively  seizing  her  arms.]     Daisy! 

[At  the  same  moment  the  Amah  has  let  the  pieces  of 
wood  fall.     She  looks  at  them  for  an  instant  and  then 
turns  round. 
Amah.     Buddha  talkee,  can  do. 
Daisy.     [To  Harry.]     Why  did  you  stop  me? 
Harry.     Daisy,    how    can    you    be    so    superstitious? 
What  is  the  result? 

Daisy.  Amah  asked  Buddha  a  question  and  the  answer 
is  yes.  [She  puts  her  hand  to  her  heart  for  an  iyistant,  then 
looking  at  Harry  she  smiles.]  I'm  sorry  I  was  silly  and 
unreasonable  just  now,  Harry. 

END   OF    SCENE    III 


SCENE  IV 


SCENE  IV 

The  sitting-room  in  the  Andersons'  apartments.  At  the 
hack  are  two  double  doors.  The  lower  part  of  them  is 
solid,  but  above  they  are  cut  in  an  intricate  trellis.  The 
ceiling  is  raftered,  painted  red  and  decorated  with  dim, 
gold  dragoyis;  the  walls  are  whitewashed.  On  them 
hang  Chinese  pictures  on  rolls.  Between  the  doors  is  a 
little  image  of  the  domestic  god,  and  under  it  a  tiny  oil 
lamp  is  burtmig.  The  furniture  is  partly  Chinese  and 
partly  European.  There  is  an  English  writing-table, 
but  the  occasional  tables,  richly  carved,  are  Chinese. 
There  is  a  Chinese  pallet-bed,  covered  with  bamboo 
matting,  and  there  is  an  English  Chesterfield.  There 
are  a  couple  of  Philippine  rattan  chairs  and  one  or  two 
of  Cantonese  blackwood.  On  the  floor  is  a  Chinese 
carpet.  A  Ming  tile  here  and  there  gives  a  vivid  note 
of  colour.  It  is  a  summer  night  and  the  doors  are  wide 
open.  Through  them  you  see  one  of  the  courtyards  of 
the  temple. 

The  Amah  is  seated  in  one  of  the  blackwood  chairs  by  the  side 
of  a  table.  She  has  her  water-pipe.  She  puts  a  pinch 
of  tobacco  in  and  then  going  to  the  lamp  binder  the  image 
lights  a  taper.  She  seats  herself  again  and  lights  her 
pipe.     She  smokes  quietly. 

Daisy  comes  in.     She  wears  an  evening  dress  somewhat  too 
splendid  for  dinner  with  only  her  husband  and  a  friend. 
Amah.     B.  A.  T.  fellow,  when  he  go? 
Daisy.     You  know  his  name.     Why  don't  you  call  him 

by  it?     I  think  he's  Roinp;  almost  at  once. 
Amah.     What  for  he  go  so  soon? 

09 


60  EAST  OF  SUEZ  [scene  iv 

Daisy.  That's  his  business,  isn't  it?  As  a  matter  of 
fact  his  sister  is  arriving  from  England,  and  he  has  to  go 
to  meet  her. 

Amah.     More  better  he  go  soon. 

Daisy.  Why  do  you  smoke  your  pipe  here?  You 
know  Harry  doesn't  Hke  it. 

Amah.  Harry  one  big  fool,  I  think.  When  you  go  to 
Chung-king? 

Daisy.     Harry  hasn't  said  a  word  about  it  since. 

Amah.     You  got  key  that  desk? 

Daisy.     No.     Harry  keeps  all  his  private  papers  there. 
[The  Amah  goes  up  to  the  desk  and  tries  one  of  the 
drawers.     It  is  locked  and  she  cannot  open  it. 

Amah.     What  Harry  do  now? 

Daisy.     He  and  Mr.  Knox  are  drinking  their  port. 
[The  Amah  takes  out  a  skeleton  key  out  of  her  pocket  and 
inserts  it  in  the  lock.     She  turns  the  key. 

Amah.  Velly  bad  lock.  I  think  him  made  in  Germany. 
Hi,  hi.  [She  opens  the  drazver  and  takes  out  a  revolver. 
She  hands  it  to  Daisy.]  Lee  Tai  say,  you  take  out  cart- 
ridges. 

Daisy.  What  do  you  mean?  [She  suddenly  guesses 
the  truth  and  gives  a  cry.]     Oh 

Amah.  [Hurriedly  putting  her  hand  over  Daisy's  mouth.] 
Sh,  you  no  make  noise.  [Holding  out  the  revolver.]  Lee 
Tai  say,  more  better  you  do  it. 

Daisy.     Take  it  away.     No,  no,  I  won't,  I  won't. 

Amah.     Sh,  sh.     I  do  it.     I  sabe. 

[She  takes  the  cartridges  out  of  the  revolver  and  hides 
them  about  her.     Daisy  looks  at  her  with  horror. 

Daisy.     It's  not  for  to-night? 

Amah.     I  no  sabe. 

Daisy.  I  won't  have  it.  Do  you  hear?  Oh,  I  shall 
go  mad! 

Amah.  Then  Harry  shut  you  up.  Hi,  hi.  All  same 
Chung-king. 

[She  puts  the  revolver  back  into  the  drawer  and  shuts  it 


SCENE  iv]  EAST  OF  SUEZ  61 

just  as  Harry  and  Harold  Knox  come  in.  They 
wear  dinner  jackets. 

Knox.  Hulloa,  there's  the  little  ray  of  sunshine.  I 
missed  your  bonny  face  before  dinner. 

Amah.     You  velly  funny  man. 

Knox.  No  wonder  I  dote  upon  you,  dearie.  You're 
the  only  attractive  woman  I've  ever  been  able  to  persuade 
that  I  was  a  humourist. 

Harry.  [Catching  sight  of  the  Amah's  water-pipe.]  I 
told  you  I  wouldn't  have  your  disgusting  pipe  in  here, 
amah. 

Amah.     Belong  velly  nice  pipe. 

Harry.  I  swore  I'd  throw  the  damned  thing  out  my- 
self if  I  found  It  lying  about. 

Amah.  [Snatching  it  away.]  You  no  touch  my  pipe. 
You  velly  bad  man.  Velly  bad  temper.  You  no  Chris- 
tian. 

Harry.     A  fat  lot  you  know  about  Christianity. 

Amah.  I  know  plentything  about  Christianity.  My 
father  velly  poor  man.  He  say,  you  go  and  be  Christian. 
I  go  Catholic  mission  and  they  baptize  me.  English 
Church  missionary,  he  come  along  and  say.  Catholic  mis- 
sion no  good,  you  go  to  hell,  I  baptize  you.  All  right  I 
say,  you  baptize  me.  By  and  by  Baptist  missionary 
come  along  and  say,  English  Church  mission  no  good, 
you  go  to  hell,  I  baptize  you.  All  right,  I  say,  you  baptize 
me.  By  and  by  Presbyterian  missionary  come  along 
and  say,  Baptist  mission  no  good,  you  go  to  hell,  I  baptize 
you.  All  right,  I  say,  you  baptize  me.  [To  Knox.]  ^'ou 
know  Seventh  Day  Adventlsts.'' 

Knox.     I've  heard  of  them. 

Amah.  By  and  by  Seventh  Day  Adventist  he  come 
along  and  say,  Presbyterian  mission  no  good. 

Knox.     You  go  to  hell. 

Amah.     How  fashion  you  sabe  what  he  said? 

Knox.     I  guessed  It. 

Amah.     You  go  ro  hell,  he  say.     I  baptize  you.     I  been 


62  EAST  OF  SUEZ  [scene  iv 

baptized  one,  two,  three,  four,  five  times.     I  velly  Chris- 
tian woman. 

Harry.     [Smiling.]     I  apologize. 

Amah.  They  all  say  to  poor  Chinese,  love  one  another. 
I  no  think  missionaries  love  one  another  velly  much.  Hi, 
hi. 

Knox.  [Taking  out  his  watch.]  D'you  mind  if  I  look 
at  the  time?     I  don't  want  to  get  to  the  station  late. 

Harry.  Of  course  not.  I  say,  won't  you  have  a  cigar.'' 
[He  goes  to  his  desk.]  I  have  to  keep  them  locked  up.  I 
think  the  boys  find  them  very  much  to  their  taste.  [He 
puts  the  key  into  the  lock.]  Hulloa,  the  drawer's  open.  I 
could  have  sworn  I  locked  it.  [He  takes  out  a  box  of  cigars 
and  hands  it  to  Knox.] 

Knox.     [Helping  himself.]     Thanks  very  much. 

Daisy.  You  know,  you  mustn't  let  me  keep  you  if  you 
want  to  be  off. 

Knox.     I've  got  two  or  three  minutes. 

Harry.  Oh,  Daisy,  before  Harold  goes  I  wish  you'd 
show  him  that  Manchu  dress  I  bought  you. 

Daisy.  I'll  go  and  fetch  it.  [To  the  Amah.]  Is  it 
hanging  up  in  the  cupboard.'' 

Amah.  No,  I  have  puttee  in  paper.  I  velly  careful 
woman. 

[They  both  go  out. 

Knox.  I  say,  old  man,  I  hope  you  don't  think  I'm  an 
awful  swine  to  rush  off  like  this  the  moment  I've  swallowed 
my  dinner. 

Harry.  Rather  not.  As  a  matter  of  fact  it's  not  ex- 
actly inconvenient,  because  I'm  expecting  George.  I  want 
him  to  have  a  heart  to  heart  talk  with  Daisy. 

Knox.    Oh. 

Harry.  She's  grousing  rather  about  going  to  Chung- 
king and  I  want  him  to  tell  her  it's  a  very  decent  place. 
He  was  vice-consul  up  there  once.  He's  dining  at  the 
Carmichael's,  but  he  said  he'd  come  along  here  as  soon 
as  he  could  get  away. 


SCENE  iv]  EAST  OF  SUEZ  63 

Knox.  Then  it's  all  for  the  best  in  the  best  of  all 
possible  worlds. 

[Daisy  comes  in  zvith  the  dress. 
Daisy.     Here  it  is. 

Knox.  By  George,  isn't  it  stunning.?  I  must  try  to 
get  one  for  my  sister.  She'd  simply  go  off  her  head  if 
she  saw  that. 

Daisy.     Harry  spoils  me,  doesn't  he.? 
Knox.     Harry's  a  very  lucky  young  fellow  to  have  you 
to  spoil. 

Daisy.  [Smiling.]  Go  away  or  you'll  never  arrive  in 
time. 

Knox.     I'm    off.      Goodby    and    thanks    very    much. 
Dinner  was  top-hole. 
Daisy.     Goodby. 

[He  goes  out.     Harry  accompanies  him  into  the  court- 
yard and  for  a  moment  is  lost  to  view.     The  gaiety  on 
Daisy's  face  vanishes  and  a  look  of  anxiety  takes  its 
place. 
Daisy.     [Calling  hurriedly.]     Amah,  amah. 
Amah.     [Coming  in.]     What  thing? 
Daisy.     What    have    you    done.?     Have    you  .  .  .   ? 
[She  stops,  unable  to  complete  the  agonised  question.] 

Amah.     What   you   talk    about.?     I    done   nothing.     I 
only  have  joke  with  you.     Hi,  hi. 
Daisy.     Will  you  swear  that's  true.? 
Amah.     Never  tell  a  lie.     Velly  good  Christian. 

[Daisy  looks  at  her  searchingly.     She  does  not  know 
whether  to  believe  or  not.     Harry  returns. 
Harry.     I  say,  Daisy,  I  wish  you'd  put  on  the  dress. 
I'd  love  to  see  how  you  look  in  it. 
Daisy.     [With  a  smile.]     Shall  I.? 

Harry.  Amah  will  help  you.  It'll  suit  you  right  down 
to  the  ground. 

Daisy.     Wait  a  minute.     Bring  the  dress  along,  amah. 
Amah.     All  right. 

[Daisy  goes  out,  followed  by  the  Amah  with  the  Manchu 


64  EAST  OF  SUEZ  [scene  iv 

dress.     Harry  goes  to  his  desk  and  opens  the  drawer. 
He  examines  the  lock  and  looks  at  the  keyhole. 
Harry.     [To  himself.]     I  wonder  if  that  old  devil's  got 
a  key. 

[He  shuts  the  drawer,  but  does  not  lock  it.     He  strolls 
back  to  the  middle  of  the  room. 
Daisy.     [In  the  adjoining  room.]     Are  you  getting  im- 
patient.? 

Harry.     Not  a  bit. 
Daisy.     I'm  just  ready. 

Harry.  I'm  holding  my  breath.  [Daisy  comes  in. 
She  is  in  full  Manchu  dress.  She  is  strangely  changed. 
There  is  nothing  European  about  her  any  more.  She 
is  mysterious  and  enigmatical.]  Daisy!  [She  gives 
him  a  little  smile  but  does  not  answer.  She  stands 
quite  still  for  him  to  look  at  her.]  By  George,  how 
Chinese  you  look! 
Daisy.     Don't  you  like  it? 

Harry.  I  don't  know.  You've  just  knocked  me  off 
my  feet.  Like  it?  You're  wonderful.  In  my  wildest 
dreams  I  never  saw  you  like  that.  You've  brought  all 
the  East  into  the  room  with  you.  My  head  reels  as  though 
I  were  drunk. 

Daisy.  It's  strange  that  I  feel  as  if  these  things  were 
made  for  me.     They  make  me  feel  so  different. 

Harry.  I  thought  that  no  one  in  the  world  was  more 
normal  than  I.  I'm  ashamed  of  myself.  You're  almost 
a  stranger  to  me  and  by  God,  I  feel  as  though  the  marrow 
of  my  bones  were  melting.  I  hear  the  East  a-calling.  I 
have  such  a  pain  in  my  heart.  Oh,  my  pretty,  my  pre- 
cious, I  love  you. 

[He  falls  down  on  his  knees  before  her  and  clasps  both 
his  arms  round  her. 
Daisy.     [In  a  low  voice,  hardly  her  own.]     Why,  Harry, 
what  are  you  talking  about? 

[She  caresses  his  hair  with  her  long,  delicate  Chinese  hand. 
Harry.     I'm  such  a  fool.     My  heart  is  full  of  wonderful 


i 


SCENE  iv]  EAST  OF  SUEZ  65 

thoughts  and  I  can  only  say  that — that  I  worship  the  very 
ground  you  walk  on. 

Daisy.  Don't  kneel,  Harry;  that  isn't  the  way  a  woman 
wants  to  be  loved. 

[She  raises  him  to  his  feet  and  as  he  rises  he  takes  her  in 
his  arms. 

Harry.  [Passionately.]  I'd  do  anything  in  the  world 
for  you. 

Daisy.     You  could  make  me  so  happy  if  you  chose. 

Harry.     I  do  choose. 

Daisy.     Won't  you  give  up  this  idea  of  leaving  Peking.? 

Harry.  But,  my  darling,  it's  for  your  happiness  I'm 
doing  it. 

Daisy.  Don't  you  think  that  everyone  is  the  best 
judge  of  his  own  happiness? 

Harry.     Not  always. 

Daisy.  [Disengaging  herself  from  his  arms.]  Ah, 
that's  the  English  way.  You  want  to  make  people  happy 
in  your  way  and  not  in  theirs.  You'll  never  be  satisfied 
till  the  Chinese  wear  Norfolk  jackets  and  eat  roast  beef 
and  plum  pudding. 

Harry.     Oh,  my  dear,  don't  let's  argue  now. 

Daisy.  You  say  you'll  give  me  everything  in  the  world 
and  you  won't  give  me  the  one  thing  I  want.  What's 
the  good  of  offering  me  the  moon  if  I  have  a  nail  in  my 
shoe  and  you  won't  take  it  out-f* 

Harry.  Well,  you  can  smile,  so  it's  not  very  serious, 
is  it? 

Daisy.  [Putting  her  arms  round  his  neck.]  Oh,  Harry, 
I'll  love  you  so  much  if  you'll  only  do  what  I  ask.  You 
don't  know  me  yet.     Oh,  Harry! 

Harry.  My  darling,  I  love  you  with  all  my  heart  and 
soul,  but  when  I've  once  made  up  my  mind  nothing  on 
earth  is  going  to  make  me  change  it.  Wc  can  only  be 
happy  and  natural  if  we  go.  You  must  submit  to  my 
judgment. 

Daisy.     How  can  you  be  so  obstinate? 


66  EAST  OF  SUEZ  [scene  iv 

Harry.     My  dear,  look  at  yourself  in  the  glass  now. 

[She  looks  dozvn  on  her  Manchu  dress.     She  understands 
what  he  means.     She  is  a  Chinese  woman. 
Daisy.     [With  a  change  of  tone.]     Amah,  bring  me  a  tea- 
gown. 

[She  begins  to  undo  the  long  Manchu  coat.     The  Amah 
comes  in  with  a  tea-gown. 
Harry.     [Dryly.]     It's  very  convenient  that  you  should 
always  be  within  earshot  when  you're  wanted,  amah. 
Amah.     I  velly  good  amah.     Velly  Christian  woman. 
[Daisy  slips  off  the  Manchu  clothes  and  is  helped  by 
the  Amah  into  the  tea-gown.     She  wraps  it  round  her. 
She  is  once  more  a  white  woman. 
Daisy.     [Pointing  to  the  Manchu  dress.]     Take  those 
things  away.     [To  Harry.]     Would  you  like  to  have  a 
game  of  chess? 

Harry.     Very  much.     I'll  get  the  men. 

[Daisy  goes  to  the  gramaphone  and  turns  on  a  Chinese 
tune.     It  is  strange  and  exotic.     Its  monotony  exacer- 
bates the  nerves.     Harry  gets  the  chessboard  and  sets 
up  the  pieces.     They  sit  down  opposite  one  another. 
The  Amah  has  disappeared  with  the  discarded  dress. 
Harry.     Will  you  take  white? 
Daisy.     If  you  like.     [She  moves  a  piece.] 
Harry.     I  hate  your  queen  opening.     It  always  flum- 
moxes me.     I  don't  know  where  you  learned  to  play  so 
well.     I  never  have  a  chance  against  you. 

Daisy.     I  was  taught  by  a  Chinaman.     It's  a  game 
they  take  to  naturally. 

[They  make  two  or  three  moves  without  a  word.     Sud- 
denly, breaking  across  the  silence,  stridently,  there  is  a 
shriek  outside  in  the  street.     Daisy  gives  a  little  gasp. 
Harry.     Hulloa,  what's  that? 

Daisy.    Oh,    it's    nothing.     It's    only    some    Chinese 
quarrelling. 

[Two  or  three  shouts  are  heard  and  then  an  agonised  cry 
of  "Help,  help."     Harry  springs  to  his  feet. 


SCENE  iv]  EAST  OF  SUEZ  67 

Harry.     By  God,  that's  English. 

[He  is  just  going  to  rush  out  zvhen  Daisy  seizes  his  arm.] 
Daisy.     What  are  you  going  to  do?     No,  no,  don't 
leave  me,  Harry. 

[She  clings  to  him.     He  pushes  her  away  violently. 
Harry.     Shut  up.     Don't  be  a  fool. 

[He  runs  to  the  drawer  oj  his  desk.     The  cry  is  repeated: 
''For  God's  sake,  help,  help,  oh!" 
Harry.     My  God,  they're  killing  someone.     It  can't 
be  .  .  .     [He  remembers  that  George  is  coming  that  evening.] 
Daisy.     [Throwing  herself  on  him.]     No,  Harry,  don't 
go,  don't  go,  I  won't  let  you. 
Harry.     Get  out  of  my  way. 

[He  pushes  her  violently  aside  and  runs  out.     Daisy 
sinks  to  the  floor  and  buries  her  face  in  her  hands. 
Daisy.    Oh,  my  God ! 

[The  Amah  has  been  waiting  just  outside  one  of  the  doors, 
in  the  courtyard,  and  now  she  slips  in. 
Amah.     Harry  velly  blave  man.     He  hear  white  man 
being  murdered.     He  run  and  help.     Hi,  hi. 
Daisy.     Oh,  I  can't.     Harry,  Harry. 

[She  springs  to  her  feet  and  runs  towards  the  courtyard, 
with  some  instinctive  idea  of  going  to  her  husband's 
help.     The  Amah  stops  her. 
Amah.     What  side  you  go.? 

Daisy.     I  can't  stand  here  and  let  Harry  be  murdered. 
Amah.     You  stop  here. 

Daisy.     Let  me  go.     For  God's  sake  let  me  go.     Wu, 
Wu. 

[The  Amah  puts  her  hand  over  Daisy's  mouth. 
Amah.     You  be  quiet.     You  wanchee  go  prison? 
Daisy.     [Snatching  away  her  hand.]     V\\  give  you  any- 
thing in  the  world  if  you'll  only  let  me  go. 
Amah.     You  silly  little  fool,  Daisy. 

[Daisy  struggles  to  release  herself,  but  she  is  helpless  in 
the  Amah's  grasp. 
Daisy.     [In  an  agony.]     It'll  be  too  late. 


68  EAST  OF  SUEZ  [scene  iv 

Amah.     Too  late  now.     You  no  can  help  him. 

[She    releases    Daisy.     Daisy    staggers  forward    and 
covers  her  face  with  her  hands. 

Daisy.     Oh,  what  have  I  done? 

Amah.  [With  a  snigger.]  You  no  done  nothing,  you 
know  nothing. 

Daisy.  [Violently.]  Curse  you!  It's  you,  you, 
you! 

Amah.  I  velly  wicked  woman.  Curse  me.  Do  me  no 
harm. 

Daisy,  I  told  you  I  wouldn't  have  anything  done  to 
Harry. 

Amah.  You  say  no  with  your  lips  but  in  your  belly 
you  say  yes. 

Daisy.    No,  no,  no! 

Amah.  You  just  big  damned  fool,  Daisy.  You  no 
love  Harry.  Him  not  velly  rich.  Not  velly  big  man.  No 
good.     You  velly  glad  you  finish  with  him. 

Daisy.  But  not  that  way.  He  never  did  me  any  harm. 
He  was  always  good  to  me  and  kind  to  me. 

Amah.     That  velly  good  way.     Velly  safe  way. 

Daisy.     You  devil!     I  hate  the  sight  of  you. 

Amah.  What  for  you  hate  me?  I  do  what  you  want. 
Your  father  velly  clever  man.  He  say:  no  break  eggs, 
no  can  eat  omelette. 

Daisy.     I  wish  I'd  never  been  born. 

Amah.  [Impatiently.]  What  for  you  tell  me  lies?  You 
want  Harry  dead.  Well,  I  kill  him  for  you.  [With  a 
sudden  gust  of  anger.]  You  no  curse  me  or  I  beat  you. 
You  velly  bad  girl. 

Daisy.     [Giving  way.]     Oh,  I  feel  so  awfully  faint! 

Amah.  [Tenderly,  as  though  Daisy  were  still  a  child.] 
You  sit  down.  You  take  smelly  salts.  [She  helps  Daisy 
into  a  chair  and  holds  smelling  salts  to  her  nostrils.]  You 
feel  better  in  a  minute.  Amah  love  her  little  Daisy 
flower.  Harry  him  die  and  Daisy  velly  sorry.  She  cry 
and  cry  and  cry.     George  velly  sorry  for  Daisy.     By  and 


SCENE  iv]  EAST  OF  SUEZ  69 

by  Daisy  no  cry  any  more.  She  say,  more  better  Harry 
dead.  Good  old  amah,  she  do  everything  for  little 
Daisy. 

[Daisy  has  been  looking  at  her  with  terrified  eyes. 

Daisy.  What  a  brute  I  am!  I'd  give  anything  in  the 
world  to  have  Harry  back,  and  yet  in  the  bottom  of  my 
heart  there's  a  feeling — if  I  were  free  there'd  be  nothing  to 
stand  between  George  and  me. 

Amah.     I  think  George  he  marry  you  maybe. 

Daisy.     Oh,  not  now!     It'll  bring  me  bad  joss. 

Amah.  You  no  wanchee  fear,  my  little  flower.  You 
sit  still  or  you  feel  bad  again. 

Daisy.  [Jumping  up.]  How  can  I  sit  still?  The  sus- 
pense is  awful.     Oh,  my  God,  what's  happened.? 

Amah.  [With  a  cunning  smile.]  I  tell  you  what's  hap- 
pened. Harry  run  outside  and  he  see  two,  three  men 
makee  fighting.  They  a  little  way  off.  One  man  cry, 
"Help,  help!"  Harry  give  shout  and  run.  He  fall  down 
and  him  not  get  up  again. 

Daisy.  He's  as  strong  as  a  horse.  With  his  bare  hands 
he's  a  match  for  ten  Chinamen. 

Amah.  Lee  Tai  velly  clever  man.  He  no  take  risks. 
I  think  all  finish  now. 

Daisy.     Then  for  God's  sake  let  me  go. 

Amah.  More  better  you  stay  here,  Daisy.  Perhaps 
you  get  into  trouble  if  you  go  out.  They  ask  you  why 
you  go  out, — why  you  think  something  happen  to  your 
husband. 

Daisy.     I  can't  let  him  lie  there. 

Amah.  He  no  lie  velly  long.  By  and  by  night  watch- 
man come  here,  and  he  say  white  man  in  the  street — him 
dead.     I  think  his  throat  cut. 

Daisy.     Oh,  how  horrible!     Harry,  Harry! 
[She  buries  her  face  in  her  hands. 

Amah.  I  light  joss-stick.  Make  everything  come  all 
right. 

[She  goes  over  to  the  household  image  and  lights  a  joss- 


70  EAST  OF  SUEZ  [scene  iv 

stick  in  front  of  it.  She  hows  before  it  and  going  on 
her  kfiees  knocks  her  head  on  the  ground. 
Daisy.  How  long  is  it  going  on?  How  long  have  I 
got  to  wait?  Oh,  what  have  I  done?  The  silence  is 
awful.  [There  is  a  silence.  Suddenly  Daisy  breaks  out 
into  a  shriek.]  No,  no,  no!  I  won't  have  it.  I  can't 
bear  it.  Oh,  God  help  me!  [In  the  distance  of  the  next 
courtyard  is  heard  the  chanting  of  the  monks  at  the  evening 
service.  The  Amah,  having  finished  her  devotions,  stands  at 
the  doorivay  looking  out  steadily.  Daisy  stares  straight  in 
front  of  her.  Suddenly  there  is  a  loud  booming  of  a  gong. 
Daisy  starts  up.]     What's  that? 

Amah.     Be  quiet,  Daisy.     Be  careful. 

[The  door  of  the  courtyard  is  flung  open.     Harry  comes 
in,  through  the  courtyard,  into  the  room,  pushing  be- 
fore him  a  coolie  whom  he  holds  by  the  wrists  and  by 
the  scruff  of  the  neck. 
Daisy.     Harry! 

Harry.     I've    got   one   of  the    blighters.     [Shouting.] 
Here,  bring  me  a  rope. 

Daisy.     What's  happened? 

Harry.  Wait  a  minute.  Thank  God,  I  got  there 
when  I  did.  [Wu  brings  a  rope  and  Harry  ties  the  mans 
wrists  behind  his  back.]  Keep  quiet,  you  devil,  or  I'll 
break  your  ruddy  neck.  [He  slips  the  rope  through  the 
great  iron  ring  of  one  of  the  doors  and  ties  it  so  that  the 
m,an  cannot  get  away.]  He'll  be  all  right  there  for  the 
present.  I'll  just  go  and  telephone  to  the  police  station. 
Wu,  you  stand  outside  there.  You  watch  him.  Sabe? 
Wu.     I  sabe. 

[As  Harry  goes  out  a  crowd  of  people  surge  through  the 
great  open  doorway  of  the  courtyard.  They  are 
monks  of  the  temple,  attracted  to  the  street  by  the  quick 
rumour  of  accident,  coolies,  and  the  night  watchman 
with  his  rattle.  Some  of  them  bear  Chinese  lanterns, 
some  hurricane  lamps.  The  crowd  separates  out  as 
they  approach  the  room   and  then   it   is  seen   that 


SCENE  iv]  EAST  OF  SUEZ  71 

three  men  are  bearing  what  seems  to  he  the  body  of 
a  man. 
Daisy.    What's  that? 

Amah.  I  think  belong  foreign  man.  [The  men  bring  in 
the  body  and  lay  it  on  the  sofa.  The  head  and  part  of  the 
chest  are  covered  with  a  piece  of  blue  cotton.  Daisy  and  the 
Amah  look  at  it  with  dismay.  They  dare  not  approach. 
The  Abbot  drives  the  crowd  out  of  the  room  and  shuts  the 
doors,  only  leaving  that  side  of  one  open  at  which  the  prisoner 
is  attached.  The  Amah  turyis  on  the  god  in  the  niche.]  You 
say  can  do.     What  for  you  make  mistake? 

[She  seizes  a  fan  which  is  on  the  table  under  her  hand 
and  with  angry  violence  hits  the  image  on  the  face  two 
or  three  times.     Daisy  has  been  staring  at  the  body. 
She  goes  up  to  it  softly  and  lifts  the  cloth  slightly,  she 
gives  a  start,  and  with  a  quick  gesture  snatches  it  away. 
She  sees  George  Conway. 
Daisy.     George.     [She  opens  her  mouth  to  shriek.] 
Amah.     Sh,  take  care.     Harry  hear. 
Daisy.     What  have  you  done? 
Amah.     I  do  nothing.     Buddha,  he  makee  mistake. 
Daisy.     You  fiend! 

Amah.  How  do  I  know,  Daisy?  I  no  can  tell  George 
coming  here  to-night.  [The  words  come  gurgling  out,  for 
Daisy  has  sprung  upon  her  and  seized  her  by  the  throat.] 
Oh,  let  me  go. 

Daisy.     You  fiend. 

[Harry  comes  in.     He  is  astounded  at  what  he  sees. 
Harry.     Daisy,  Daisy.     What  in  God's  name  are  you 
doing? 

[Restrained  by  his  voice,  Daisy  releases  her  hold  of  the 
Amah,  but  violently,  pushing  her  so  that  she  falls  to 
the  ground.     She  lies  there,  putting  her  hand  to  her 
throat.     Daisy  turns  to  Harry. 
Daisy.     It's  George. 

Harry.  [Going  up  to  the  sofa  and  putting  his  hand  on 
George's  heart.]     Confound  it,  I  know  it's  George. 


72  EAST  OF  SUEZ  [scene  iv 

Daisy.     Is  he  dead  ? 

Harry.  No,  he's  only  had  a  bang  on  the  head.  He's 
stunned.  I've  sent  for  the  doctor.  Luckily  he  was  dining 
at  the  Carmichaels'  and  I  sent  George's  rickshaw  to  bring 
him  along  as  quick  as  he  could  come, 

Daisy.     Supposing  he's  gone.'' 

Harry.  He  won't  have  gone.  They  were  going  to 
play  poker.  By  God,  what's  this?  [He  takes  away  his 
hand  and  sees  blood  upon  it.]  He's  been  wounded.  He's 
bleeding. 

[Daisy  goes  up  to  the  body  and  kneeling  down,  feels  the 
pulse. 

Daisy.     Are  you  sure  he's  alive? 

Harry.  Yes,  his  heart's  beating  all  right.  I  wish  the 
doctor  would  make  haste.  I  don't  know  what  one  ought 
to  do. 

Daisy.     How  do  you  know  he's  at  the  Carmichaels*? 

Harry.  George  told  me  yesterday  he  was  going  to  be 
there.  George  said  he  did  not  want  to  play  poker  and  he'd 
come  along  here  after  dinner. 

Daisy.  [Springing  to  her  feet.]  Did  you  know  George 
was  coming? 

Harry.     Of  course    I    did.     When    I    heard    someone 
shouting  in  English  the  first  thing  I  thought  of  was  George. 
[Daisy  bursts  into  a  scream  of  hysterical  laughter.     The 
Amah  suddenly  looks  up  and  becomes  attentive. 

Harry.     Daisy,  what's  the  matter? 

Amah.  [Sliding  to  her  feet  and  going  up  to  Daisy,  trying 
to  stop  her.]  Maskee.  She  only  laughy  laughy.  You 
no  trouble. 

Harry.     Get  some  water  or  something. 

Amah.     [Frightened.]     Now,  my  pletty,  my  pletty. 

Daisy.     [Recoverijig  herself,  violently.]     Let  me  be. 

Harry.  By  George,  I  believe  he's  coming  to.  Bring 
the  water  here. 

[Daisy  takes  the  glass  and  leaning  over  the  sofa,  moistens 
George's  lips.    He  slowly  opens  his  eyes. 


Ji 


SCENE  iv]  EAST  OF  SUEZ  73 

George.     Funny  stuff.     What  is  it? 

Harry.  [With  a  chuckle  that  is  half  a  sob.\  Don't  be 
a  fool.     Oh,  George,  you  have  given  me  a  nasty  turn. 

George.  There's  something  the  matter  with  the 
water. 

Daisy.     [Looking  at  it  quickly.]     What? 

George.     Damn  it  all,  there's  no  brandy  in  it. 

Daisy.     If  you  make  a  joke  I  shall  cry. 

[He  tries  to  move,  but  suddenly  gives  a  groan. 

George.  Oh  Lord.  I've  got  such  a  pain  in  my 
side. 

Harry.  Keep  quiet.  The  doctor  will  be  here  in  a 
minute. 

George.     What  is  it? 

Harry.     I  don't  know.     There's  a  lot  of  blood. 

George.  I  hope  I  haven't  made  a  mess  on  your  nice 
new  sofa. 

Harry.     Damn  the  sofa.     It's  lucky  I  heard  you  shout. 

George.     I  never  shouted. 

Harry.  Oh,  nonsense,  I  heard  you.  I  thought  it  was 
you  at  once. 

George.  I  heard  a  cry  for  help  too.  I  was  just  coming 
along.  I  nipped  out  of  my  rickshaw  and  sprinted  like  hell, 
I  saw  some  fellows  struggling.  I  think  someone  hit  me  on 
the  head.     I  don't  remember  much. 

Harry.     Who  did  cry  for  help? 

George.     [After  a  pause.]     Nobody. 

Harry.  But  I  heard  it.  Daisy  heard  it  too.  It 
sounded  like  someone  being  murdered.  [As  George  gives 
a  little  chuckle.]     What's  the  joke? 

George.  Someone's  got  his  knife  into  you,  old  man, 
and  the  silly  ass  stuck  it  into  me  instead. 

[The  Amah  pricks  up  her  ears. 

Daisy.     I'm  sure  you  oughtn't  to  talk  so  much. 

George.  It's  a  very  old  Chinese  trick.  They  just  got 
the  wrong  man,  that's  all. 

Harry.     By  George,  that  explains  why  I  tripped. 


74  EAST  OF  SUEZ  [scene  iv 

George.  Did  you  trip?  A  piece  of  string  across  the 
street. 

Harry.  I  wasn't  expecting  it.  I  went  down  like  a 
ninepin.  I  was  up  again  in  a  flash  and  just  threw  myself 
at  the  blighters.  You  should  have  seen  'em  scatter. 
Luckily  I  got  one  of  them. 

George.     Good.     Where  is  he? 
Harry.     He's  here.     I've  tied  him  up  pretty  tight. 
George.     Well,  we  shall  find  out  who's  at  the  bottom  of 
this.     The  methods  of  the  Chinese  police  may  be  uncivil- 
ized, but  they  are  .  .  .     Oh,  Lord,  I  do  feel  rotten. 
Harry.     Oh,  George. 

[Daisy  gives  Harry  the  glass  and  he  helps  George  to 
drink. 
George.     That's  better. 

Harry.     We'd  better  get  you  to  bed,  old  man. 
George.     All  right. 

Harry.  Wu  and  I  will  carry  you.  Wu,  come  along 
here. 

[The  boy  approaches.  The  Amah  realizes  that  for  a  mo- 
ment the  prisoner  is  to  he  left  unguarded.  There  is  a 
table  knife  on  one  of  the  occasional  tables  zuith  which 
Daisy  has  been  cutting  a  book.  The  Amah's  hand 
closes  over  it. 
George.     Oh,  no,  that's  all  right.     I  can  walk. 

[He  gets  up  from  the  sofa.     Harry  gives  him  an  arm. 
He  staggers. 
Harry.     Wu,  you  fool.     \Da\&y  springs  forward.]     No, 
let  me  take  him,  Daisy.     You're  not  strong  enough. 

George.  [Gasping.]  Sorry  to  make  such  an  ass  of 
myself. 

[Harry  and  Wu,  holding  him  one  on  each  side^  help 
him  out  of  the  room. 
Daisy.     Shall  I  come? 
Harry.     Oh,  I'll  call  you  if  you're  wanted. 

[Daisy  sinks  into  a  chair,  shuddering,  and  covers  her 
face  with  her  hands.     The  Amah  seizes  her  oppor- 


SCENE  IV]  EAST  OF  SUEZ  75 

tunity.  She  cuts  the  rope  tvhich  binds  the  prisoner. 
As  soon  as  he  is  free  he  steps  out  into  the  darkness. 
The  Amah  zvatches  for  a  moment  and  then  cries  out. 

Amah.     Help,  help! 

[Daisy  springs  up  and  Harry  hurries  in. 

Harry.     What's  the  matter? 

Amah.     Coolie.     Him  run  away. 

Harry.  [Looking  at  the  place  where  he  had  been  tied  up.] 
By  God! 

Amah.  Missy  feel  velly  ill.  No  can  stand  blood. 
Feel  faint.  I  run  fetch  smelly  salts  and  when  I  come  back 
him  gone.     Him  bad  man. 

[Harry  goes  to  the  door  and  looks  at  the  rope. 

Harry.     This  rope's  been  cut. 

Amah.  Perhaps  he  have  knife.  Why  you  no  look  see 
before  you  tie  him. 

Harry.  [Looking  at  her  sternly.]  How  do  you  think 
he  could  get  at  a  knife  with  his  hands  tied  behind  his 
back? 

Amah.     I  no  sabe.     Maybe  he  have  friend. 

Harry.     Didn't  you  hear  anything,  Daisy? 

Daisy.  No.  I  wasn't  thinking  about  him.  Oh, 
Harry,  George  isn't  going  to  die,  is  he  ? 

Harry.  I  hope  not.  I  don't  know  what  sort  of  a 
wound  he's  got.  [The  Amah,  thinking  attention  is  with- 
drawn from  her,  is  slipping  away.]  No,  you  don't.  You 
stop  here. 

Amah.     What  thing  you  wantchee? 

Harry.     You  let  that  man  go. 

Amah.  You  velly  silly  man.  What  for  I  want  let 
him  go? 

Harry.  [Pointing.]  What's  that  knife  doing  there? 
That's  one  of  our  knives. 

Amah.     Missy  takey  knife  cutty  book. 

Harry.  When  I  got  into  the  street  I  wanted  to  fire 
my  revolver  to  frighten  them.  There  wasn't  a  cartridge 
in  it.     I  always  keep  it  loaded  and  locked  up. 


76  EAST  OF  SUEZ  [scene  iv 

Amah.  Revolver.  I  don't  know  him.  I  never  have 
see  revolver.     Never.     Never. 

[She  makes  a  -niovement  as  though  to  go  away.     He 
seizes  her  wrist. 

Harry.     Stop. 

Amah.  My  go  chow.  My  belong  velly  hungly.  You 
talk  by  and  by. 

Harry.  If  I  hadn't  come  in  just  now,  Daisy  would 
have  strangled  you. 

Amah.  Daisy  velly  excited.  She  no  sabe  what  she 
do.     She  never  hurt  old  amah. 

Harry.     Why  were  you  angry  with  her,  Daisy? 

Daisy.  [Frightened.]  I  was  beside  myself.  I  don't 
know  what  I  was  doing. 

Harry.  [With  sudden  suspicion.]  Are  you  trying  to 
shield  her.i* 

Daisy.     Of  course  not.    Why  on  earth  should  I  do  that? 

Harry.  I  suppose  you  look  on  it  as  a  matter  of  no  im- 
portance that  she  tried  to  kill  me. 

Daisy.  Oh,  Harry,  how  can  you  say  anything  so  cruel? 
^^^^y  should  she  try  and  kill  you? 

Harry.  I  don't  know.  How  do  you  expect  me  to 
guess  what  is  at  the  back  of  a  Chinese  brain?  She's 
hated  me  always. 

Amah.     You  no  love  me  velly  much. 

Harry.  I've  put  up  with  her  just  because  she  was 
attached  to  you.  I  knew  she  was  a  liar  and  a  thief.  It 
was  a  trap  and  I  escaped  by  a  miracle.  Only,  George  has 
got  to  suffer  for  it. 

Daisy.     Harry,  you're  nervous  and  excited. 

Harry.     What  are  you  defending  her  for? 

Daisy.     I'm  not  defending  her. 

Harry.  One  would  almost  think  she  had  some  hold 
on  you.  I've  never  seen  anyone  let  an  amah  behave  as 
you  let  her  behave. 

Daisy.  She's  been  with  me  since  I  was  a  child.  She — 
she  can't  get  it  into  her  head  that  I'm  grown  up. 


SCENE  iv]  EAST  OF  SUEZ  77 

Harry.  Well,  I've  had  about  enough  of  her.  [To  the 
Amah.]  The  police  will  be  here  in  ten  minutes  and  I  shall 
give  you  in  charge  instead  of  the  man  you  allowed  to 
escape. 

Amah.  You  give  me  policeman?  I  no  have  do  wrong. 
What  for  you  send  me  to  prison.'' 

Harry.  I  daresay  you  know  what  a  Chinese  prison  is 
like  better  than  I  do.  I  don't  think  it'll  be  long  before 
you  find  it  worth  while  to  tell  the  truth. 

Daisy.  [With  uicreasing  nervousness.]  Oh,  Harry,  I 
don't  think  you  ought  to  do  anything  before  you've  had 
time  to  think.     After  all,  there's  absolutely  no  proof, 

Harry.  [Looking  at  her  with  perplexity.]  I  don't  un- 
derstand.    What  is  the  mystery? 

Daisy.  There  is  no  mystery.  Only  I  can't  bear  the 
idea  that  my  old  amah  should  go  to  prison.  She's  been 
almost  a  mother  to  me  for  so  many  years. 

[There  is  a  pause.  Harry  looks  from  Daisy  to  the 
Amah. 

Harry.  [To  the  Amah.]  Then  get  out  of  here  before 
the  police  come. 

Amah.     You  talkee  so  quick.     No  can  understand. 

Harry.  Yes,  you  can.  Unless  you're  out  of  here  in 
ten  minutes  I  shall  give  you  in  charge  .  .  .  Go  while  the 
going's  good. 

Amah.     I  think  I  go  smoke  pipe. 

Harry.  No,  you  don't,  you  get  out  quick  or  I'll  throw 
you  out  myself. 

Amah.     You  no  throw  me  out  and  I  no  go  to  prison. 

Harry.     We'll  soon  see  about  that. 

[He  seizes  her  roughly  and  is  about  to  run  her  out  into 
the  courtyard. 

Daisy.     No,  don't,  Harry.     She's  my  mother. 

Harry.     That! 

[He  is  aghast.  He  releases  the  Amah.  He  looks  at  her 
with  horror.  Daisy  covers  her  face  with  her  hands. 
The  Amah  gives  a  little  snigger. 


78  EAST  OF  SUEZ  [scene  iv 

Amah.  Yes,  Daisy,  my  daughter.  She  no  wanchee 
tell.     I  think  she  a  little  ashamed  of  her  mother. 

Harry.     My  God  I 

Amah.  I  velly  pletty  girl  long  time  ago.  Daisy's 
father,  he  call  me  his  little  lotus  flower,  he  call  me  his 
little  peach-blossom.  By  and  by  I  no  velly  pletty  girl 
any  more  and  Daisy's  father  he  call  me  you  old  witch. 
Witch,  that's  what  he  call  me.  Witch.  He  call  me,  you 
old  hag.  You  velly  bad  man,  I  say  to  him.  You  no 
Christian.  You  go  to  hell,  he  say.  All  right,  I  say,  you 
baptize  me. 

[Harry  turns  away,  with  dismay,  and  repulsion.     The 
Amah  takes  her  pipe  and  lights  it. 


END   OF    SCENE    IV 


SCENE  V 


SCENE  V 

The  courtyard  in  the  Andersons'  ^part  of  the  temple. 
At  the  back  is  the  outer  wall  raised  by  two  or  three  steps  from 
the  ground.     From  the  top  of  the  wall,  projects  a  shallow 
roof  of  yellow  tiles  supported  by  wooden  pillars  painted 
red,  shabby  and  rather  weather-worn,  and  this  roof  is 
raised  in  the  middle  of  the  wall,  where  there  is  a  huge 
wooden  gateway.     When  this  is  opened  the  street  is  seen 
and  on  the  other  side  of  it  a  high,  blank,  white  wall. 
The  courtyard  is  paved  with  great  flags.     On  each  side 
of  it  are  living  rooms. 
There  is  a  long  rattan  chair;  a  round  table  and  a  couple  of 
armchairs.     George  is  lying  on  the  long  chair,  looking 
at  an  illustrated  paper,  and  the  Amah  is  seated  on  the 
ground,  smoking  her  water-pipe. 
George.     [With    a    smile,    putting    down    the    paper.] 
You're  not  as  chatty  as  usual  this  afternoon,  amah. 
Amah.     Suppose  I  got  nothing  to  talk  about  I  no  talk. 
George.     You    are   an   example    to    your    sex,   amah. 
Your  price  is  above  rubies. 

Amah.     No  likee  rubies  velly  much.     No  can  sell  velly 
much  money. 

George.     In  point  of  fact  I  wasn't  thinking  of  giving 
you  rubies,  even  reconstructed,  but  if  I  did  I  can't  think 
you'd  be  so  indelicate  as  to  sell  them. 
Amah.     I  no  think  you  velly  funny  man. 
George.     I  was  afraid  you  didn't.     Would  you   think 
it  funny  if  I  sat  on  my  hat."* 

Amah.     Yes,  I  laugh  then.     Hi,  hi. 
George.     The  inscrutable   heart  of  China  expands  to 
the  self-same  joke  that  convulses  a  duchess  in  London  and 
a  financier  in  New  York. 

81 


82  EAST  OF  SUEZ  [scene  v 

Amah.     You  more  better  read  the  paper. 
George.     Where's  Missy? 

Amah.     I  think  she  in  her  room.     You  wanchee? 
George.     No. 

Amah.     I  think  she  come  by  and  by. 
George.     [Looking  at  his  watch.]     Mr.  Anderson  ought 
to  be  back  from  the  office  soon.     [There  is  a  loud  knocking 
at  the  door.]     Halloa,  who's  that.f* 

[J  Servant  comes  out  of  the  house  and  going  to  the 
gateway  withdraws  the  bolt. 
Amah.     I  think  doctor  come  see  you,  maybe. 
George.     Oh   no,  he's  not  coming  to-day.     He  said 
he'd  look  in  to-morrow  before  I  started. 

[The  Amah  gets  up  and  looks  at  the  doorway  of  which 
now  the  Servant  has  opened  one  side.     Harold 
Knox  and  his  sister  Sylvia  are  seen. 
Knox.     May  we  come  in? 
George.     Good  man.     Of  course. 

[They  come  towards  George.     Sylvia  is  a  very  pretty, 

simple,  healthy,  and  attractive  girl.     She  is  dressed 

in  a  light  summer  frock.     There  is  in  her  gait  and 

manner  something  so  spring-like  and  fresh  that  it  is  a 

pleasure  to  look  at  her. 

Knox.     I've  brought  my  young  sister  along  with  me. 

[As  George  rises  to  his  feet.]     Don't  get  up.     You  needn't 

put  on  any  frills  for  a  chit  like  that. 

George.      Nonsense.      I'm    perfectly    well.      [Shaking 
hands  with  Sylvia.]    How  d'you  do  ?    My  name  is  Conway. 
Knox.     I  only  omitted  to  inform  her  of  that  fact  be- 
cause she  already  knew  it. 

Sylvia.  Strangely  enough  that  happens  to  be  true. 
But  I  wish  you'd  lie  down  again. 

George.  I'm  sick  of  lying  down.  The  doctor  says  I'm 
perfectly  all  right.     I'm  going  home  to-morrow. 

Knox.  [Catching  sight  of  the  Amah.]  Hulloa,  sweet- 
heart, I  didn't  see  you.  Sylvia,  I  want  you  to  know  the 
only  woman  I've  ever  loved. 


SCENE  v]  EAST  OF  SUEZ  83 

George.     [Smiling.]     This  is  Mrs.  Anderson's  amah. 

Sylvia.  [IFith  a  little  friendly  nod.]  How  do  you 
do? 

Amah.  [All  in  a  breath.]  Velly  well,  thank  you.  How 
do  you  do?  Velly  well,  thank  you  .  .  .  You  Mr.  Knox 
sister? 

Sylvia,     Yes. 

Amah.     You  missionary  lady? 

Sylvia.     No. 

Amah.     What  for  you  come  China  then? 

Sylvia,     I  came  to  see  my  brother. 

Amah.     How  old  are  you? 

Knox.     Be  truthful,  Sylvia, 

Sylvia.     I'm  twenty-two. 

Amah.     How  many  children  you  got? 

Sylvia.     I'm  not  married. 

Amah.     What  for  you  no  married  if  you  twenty-two? 

Sylvia.  It  does  need  an  explanation,  doesn't  it?  The 
truth  is  that  nobody's  asked  me. 

Knox.     What  a  lie! 

Amah,     You  come  China  catchee  liusband? 

Sylvia.     Certainly  not. 

Amah.     You  Christian? 

Sylvia,     Not  a  very  good  one,  I'm  afraid. 

Amah,     Who  baptized  you? 

Sylvia,  Well,  you  know,  it's  an  awfully  long  time  ago. 
I  forget. 

Knox.     She's  like  me,  amah,  she's  a  Presbyterian. 

Amah.  You  go  to  hell  then.  Only  Seventh  Day 
Adventists  no  go  to  hell. 

Sylvia.     It'll  be  rather  crowded  then,  I'm  afraid. 

Amah.     You  only  baptized  once? 

Sylvia.     So  far  as  I  know. 

Amah.  I  baptized  one,  two,  three,  four,  five  times.  I 
velly  Christian  woman. 

Knox.  I  say,  old  man,  1  don't  w:iiir  to  dash  your  fond 
hopes,  but  in  point  of  fact  w(;  didn't  come  here  to  sec  you. 


84  EAST  OF  SUEZ  [scene  v 

George.  Wliy  not?  Surely  Miss  Knox  must  want  to 
see  the  principal  sights  of  Peking. 

Knox.  The  man  is  not  a  raving  lunatic,  Sylvia.  His 
only  delusion  is  that  he's  a  humourist  .  .  .  Sylvia  thought 
she'd  like  to  call  on  Mrs.  Harry. 

George.  I'm  sure  Daisy  will  be  very  glad.  Amah, 
go  and  tell  Missy  that  there's  a  lady. 

Amah.     Can  do. 

[Exit. 

Knox.  I  say,  have  they  caught  any  of  those  blighters 
who  tried  to  kill  you.? 

George.  No,  not  a  chance.  They  weren't  after  me, 
you  know;  they  were  after  Harry. 

Knox.     Is  there  anyone  who  has  a  grudge  against  him? 

George.  I  don't  think  so.  He  doesn't  seem  very 
keen  on  discussing  the  incident. 

[Daisy  comes  in. 

Knox.  Here  she  is.  I've  brought  my  sister  to  see  you, 
Mrs.  Harry. 

Daisy.     [Shaking  hands.]     How  do  you  do? 

Sylvia,     What  a  wonderful  place  you  live  in! 

Daisy.  It's  rather  attractive,  isn't  it?  You  must  see 
the  temple  before  you  go. 

Sylvia.     I'd  love  to. 

Daisy.  Do  sit  down.  [To  Knox.]  What  do  you 
think  of  my  patient? 

Knox.  I  think  he's  a  fraud.  I  never  saw  anyone  look 
so  robust. 

Daisy.     [Delighted.]     He's  made  a  wonderful  recovery. 

George.  Thanks  to  you,  Daisy.  You  can't  think  how 
she  nursed  me. 

Knox.     It  was  rather  a  narrow  escape,  wasn't  it? 

Daisy.  For  two  days  we  thought  he  might  die  at  any 
minute.     It  was — it  was  rather  dreadful. 

George.  And  do  you  know,  all  that  time  she  never 
left  me  a  minute.  [7*0  Daisy.]  I  don't  know  how  I  can 
ever  thank  you. 


SCENE  v]  EAST  OF  SUEZ  85 

Daisy.  Oh,  well,  Harry  had  his  work,  I  didn't  think 
he  ought  to  be  robbed  of  his  night's  rest  for  a  worthless 
creature  like  you,  and  I  hated  the  idea  of  a  paid  nurse 
looking  after  you. 

Sylvia.     You  must  have  been  worn  out  at  the  end  of  it. 

Daisy.  No,  I'm  as  strong  as  a  horse.  And  it  was  such 
a  relief  to  me  when  the  doctor  said  he  was  out  of  danger,  I 
forgot  I  was  tired. 

Knox.  I  don't  know  why  you  bothered  about  him. 
There  are  such  a  lot  of  fellows  who  want  his  job  and  they 
all  know  they  could  do  it  much  better  than  he  can. 

George.  Everyone's  been  so  extraordinarily  good  to 
me.    I  had  no  idea  there  was  so  much  kindness  in  the  world. 

Daisy.  [To  Sylvia,  very  pleasantly.]  Will  you  come 
and  look  at  the  temple  now  while  they're  bringing  tea.? 

Sylvia.     Yes,  I'd  like  to  very  much. 

Daisy.  I  think  you'll  enjoy  your  tea  more  if  you  feel 
you've  done  the  sight. 

Sylvia.  It's  all  so  new  to  me.  Everything  interests 
me.     I've  fallen  passionately  in  love  with  Peking. 

[They  wander  of,  talking  gaily. 

George.     Harold,  you're  a  very  nice  boy. 

Knox.  That's  what  the  girls  tell  me.  But  I  don't 
know  why  you  should. 

George.  I  think  it  was  rather  sporting  of  you  to 
bring  your  sister  to  see  Daisy. 

Knox.  I  don't  deserve  any  credit  for  that.  She  in- 
sisted on  coming. 

George.    Oh? 

Knox.  She  met  Harry  at  the  club  and  took  rather  a 
fancy  to  him.  When  I  told  her  Daisy  was  a  half-caste  and 
people  didn't  bother  much  about  her  she  got  right  up  on 
her  hind  legs.  I  told  her  she'd  only  just  come  out  to 
China  and  didn't  know  what  she  was  talking  about  and 
then  she  gave  me  what  she  called  a  bit  of  her  mind.  I 
was  obliged  to  remark  that  if  that  was  a  bit  I  didn't  much 
care  about  knowing  the  rest. 


86  EAST  OF  SUEZ  [scene  v 

George.     It  sounds  as  though  you'd  had  a  little  tiff. 

Knox.  She  said  she  had  no  patience  with  the  airs 
people  gave  themselves  in  the  East.  A  Eurasian  was  just 
as  good  as  anybody  else.  And  when  I  happened  to  say  I 
was  coming  here  to-day  to  see  how  you  were  she  said  she'd 
come  too. 

George.  It's  very  kind  of  her.  Daisy  leads  a  dread- 
fully lonely  life.  It  would  mean  so  much  to  her  if  she  knew 
one  or  two  white  women.  If  they  take  to  one  another, 
you  won't  try  to  crab  it,  will  you?  I  fancy  Daisy  wants 
a  friend  rather  badly. 

Knox.  I  shouldn't  like  it  very  much,  you  know. 
Would  you  much  care  for  your  sister  to  be  very  pally  with 
a  half-caste? 

George.  Daisy  is  one  in  a  thousand.  You  can't 
think  what  she's  done  for  me  during  my  illness.  My 
mother  couldn't  have  taken  more  care  of  me. 

Knox.  They're  often  very  good-hearted.  But  as  a 
matter  of  fact  nothing  I  can  say  will  have  the  least  effect 
on  Sylvia.  Girls  have  changed  a  lot  since  the  war.  If 
she  wants  to  do  a  thing  and  she  thinks  it  right,  she'll  do  it. 
And  if  I  try  to  interfere  she's  quite  capable  of  telling  me  to 
go  to  the  devil. 

George.  She  seems  to  be  a  young  woman  of  some 
character. 

Knox.  Perhaps  because  she's  had  rather  a  rough  time. 
The  fellow  she  was  engaged  to  was  killed  in  the  war  and 
she  was  awfully  cut  up.  She  drove  an  ambulance  for  the 
last  two  years  and  then  she  went  up  to  Girton.  After 
that  my  father  thought  she'd  better  come  out  here  for  a 
bit. 

George.     She  ought  to  like  it. 

Knox.  If  she  doesn't  put  up  people's  backs  too  much. 
She  can't  stand  anything  like  injustice  or  cruelty.  If  she 
thinks  people  are  unkind  to  Daisy  or  sniffy  about  her,  she'll 
stick  to  her  like  a  leech.  However,  I  daresay  she'll  get 
married. 


SCENE  v]  EAST  OF  SUEZ  87 

George.     [Smiling.]     That'll  learn  her. 

Knox.  Why  don't  you  marry  her.''  It's  about  time 
you  settled  down. 

George.     [With  a  chuckle.]     You  fool. 

Knox.  Why.?  You're  by  way  of  being  rather  eligible, 
aren't  you? 

George.  I  don't  know  why  you  want  to  get  rid  of  her. 
She  seems  a  very  nice  sister. 

Knox.  Of  course  I  love  having  her  with  me,  but  she 
does  cramp  my  style  a  bit.  And  she  ought  to  marry. 
She'd  make  you  a  first-rate  wife. 

George.     Much  too  good  for  the  likes  of  me. 

Knox.  Of  course  she's  a  bit  independent,  but  one  has 
to  put  up  with  that  in  girls  nowadays.  And  she's  as  good 
as  gold. 

George.     One  can  see  that  at  a  mile,  my  son. 

Knox.  I  say,  who  was  Rathbone,  Daisy's  first  hus- 
band, do  you  know.? 

George.  [His  face  a  blank.]  Harry  told  me  he  was 
an  American.     He  said  he  was  in  business  in  the  F.  M.  S. 

Knox.  That's  what  Harry  told  me.  I  met  a  fellow 
the  other  day  who  lives  in  Singapore  who  told  me  he'd 
never  heard  of  Rathbone. 

George.  [Chafing  him.]  Perhaps  he  didn't  move  in 
the  exalted  circles  that  a  friend  of  yours  would  naturally 
move  in. 

Knox.     I  suppose  there  was  a  Mr.  Rathbone.? 

[There  is  a  distant  sound  in  the  street  of  Chinese  instru- 
ments being  played. 

George.     Hulloa,  there's  the  procession  coming  along. 

Knox.     What  procession.? 

George.  It's  a  Manchu  wedding.  The  ani.ih  was 
talking  about  it  this  morning. 

Knox.  I  must  call  Sylvia.  She'd  love  to  sec  it. 
Sylvia. 

[Daisy  and  Sylvia  come  out  of  the  house  just  as  he  calls. 

Sylvia.     Don't  shout,  Harold. 


88  EAST  OF  SUEZ  [scene  v 

Knox.     Come  along  and  have  your  education  improved. 
A  Manchu  wedding  is  just  going  to  pass  by  .  .  . 

Sylvia.     Oh,  good,  let's  go  out  into  the  street! 

Daisy.     You  can  see  it  just  as  well  from  here.     I'll 
have  the  doors  opened.     Boy,  open  the  gate. 

Knox.     Yes,  that's  the  ticket.     We  shall  see  it  better 
from  here. 

[Wu  during  the  last  few  speeches  has  appeared  with  the 
tea,  which  he  sets  down  on  the  table.  On  receiving 
Daisy's  order  he  goes  to  the  doorway  and  draws  the 
holt.  He  pulls  back  one  heavy  door  while  Knox  pulls 
back  the  other.  The  empty  street  is  seen.  The  music 
grows  louder.  Now  the  procession  comes,  gay,  bril- 
liant, and  barbaric  against  the  white  wall  of  the  street; 
first  men  on  horseback,  then  Buddhist  monks  in  gray, 
with  their  shaven  heads;  then  the  band,  playing  wild, 
discordant  music;  after  them  passes  a  long  string  of 
retainers  in  red,  with  strange  shaped  hats;  then  come 
retainers  bearing  in  open  palanquins  great  masses  of 
cardboard  fruits  and  all  manner  of  foodstuffs,  silver 
vessels  and  gold;  these  are  followed  by  two  or  three 
youths  on  horseback,  gorgeously  dressed,  and  these 
again  by  the  palanquin,  carved  and  richly  painted 
and  gilt,  of  the  bride.  Then  pass  more  priests  and 
another  band  and  finally  a  last  string  of  retainers  in 
red.  When  the  last  one  has  disappeared  a  beggar 
shows  himself  at  the  open  doorway.  He  is  exces- 
sively thin,  and  he  has  a  bush  of  long,  bristly  hair; 
he  is  clothed  in  pale  rags,  torn  and  patched;  his  legs 
and  feet  are  bare.  He  puts  out  a  bony  hand  and 
breaks  into  a  long,  high-pitched  whine. 

Knox.     Oh,  Lord,  get  out! 

Daisy.    Oli,  no,  please,  Harold,  give  him  a  copper  or  two. 

George.     Daisy  never  lets  a  beggar  go  away  without 
something. 

Daisy.     It's  not  because  I'm  charitable.     I'm  afraid 
they'll  bring  me  bad  luck. 


SCENE  v]  EAST  OF  SUEZ  89 

Knox.  [Taking  a  coin  from  his  pocket.]  Here  you  are, 
Clarence.     Now  buzz  off. 

[The  beggar  takes  his  dole  and  saunters  away.     Wu 
closes  the  doors. 

Sylvia.     [Enthusiastically .]     I  am  glad  I  saw  that. 

Daisy.  You'll  get  very  tired  of  that  sort  of  thing  before 
you've  been  here  long.     Now  let's  have  tea. 

Sylvia.  Oh,  I  don't  think  we'll  stay,  thank  you  very 
much.     We  have  another  call  to  make. 

Daisy.  How  tiresome  of  you.  Harry  ought  to  be 
back  in  a  few  minutes.  He'll  be  disappointed  not  to  have 
seen  you. 

Sylvia.  I  promised  to  go  and  see  Mrs.  Stopfort.  Do 
you  know  her.^ 

Daisy.     I  know  who  you  mean. 

Sylvia.  I  think  people  are  being  absolutely  beastly 
to  her.     It  simply  makes  my  blood  boil. 

Daisy.     Oh,  how.? 

Sylvia.  Well,  you  know  that  her  husband's  a  drunken 
brute  who's  treated  her  abominably  for  years.  At  last 
she  fell  in  love  with  a  man  and  now  her  husband  is  going 
to  divorce  her.     It's  monstrous  that  he  should  be  able  to. 

Daisy.  Are  the  ladies  of  Peking  giving  her  the  cold 
shoulder.? 

Knox.  The  cold  sho^llder  hardly  describes  it.  The 
frozen  silverside. 

George.  I  think  she's  well  rid  of  Reggie  Stopfort  at 
any  price,  but  I'm  sorry  the  other  party  is  Andre 
Leroux. 

Sylvia.  Why.?  She  introduced  me  to  him.  I  thought 
he  was  a  very  nice  fellow. 

(jEORGE.  Well,  you  see,  if  he'd  been  English  or  Ameri- 
can, he  would  have  married  her  as  a  matter  of  course. 

Sylvia.     So  I  should  hope. 

Daisy.  Ikcause  she  was  divorced  on  his  account,  you 
mean .? 

George.     Yes.     But  the  French  haven't  our  feeling  on 


90  EAST  OF  SUEZ  [scene  v 

that  matter.     I'm  not  quite  sure  if  Andre  will  be  willing 
to  marry  her. 

Sylvia.  Oh,  that  would  be  dreadful!  Under  those 
circumstances  the  man  must  marry  the  woman.  He 
simply  must. 

George.    Of  course. 

Knox.  Come  along,  Sylvia.  We  won't  discuss  women's 
rights  now. 

Sylvia.  [Giving  Daisy  her  hand  very  cordially.]  And 
if  there's  anything  I  hate  it's  people  who  say  they're  going 
and  then  don't  go.     Good-bye,  Mrs.  Anderson. 

Daisy.     It's  been  very  nice  to  see  you. 

Sylvia.  I  do  hope  you'll  come  and  see  me  soon.  I'm 
so  very  much  alone  you'd  be  doing  me  a  charity  if  you'd 
look  me  up.     We  might  do  the  curio  shops  together. 

Daisy.     That  would  be  great  fun. 

Sylvia.  Good-bye,  Mr.  Conway.  I'm  glad  to  see  you 
so  well. 

George.     Thank  you  very  much,  good-bye. 

[Knox  and  Sylvia  go  out.     Daisy  has  walked  with 
them  towards  the  doorway  and  now  returns  to  George. 

George.     What  a  very  nice  girl,  Daisy. 

Daisy.  She  seems  to  make  a  specialty  of  speckled 
peaches.     First  me  and  then  Mrs.  Stopfort. 

George,     I  was  hoping  you'd  like  her. 

Daisy.  It's  hardly  probable.  She's  everything  that 
I'm  not.  She  has  everything  that  I  haven't.  No,  I  don't 
like  her.     But  I'd  give  anything  in  the  world  to  be  her. 

George.  [Smiling.]  I  don't  think  you  need  envy 
her. 

Daisy.     Don't  you  think  she's  pretty? 

George.  Yes,  very.  But  you're  so  much  more  than 
pretty.  I  expect  you  have  more  brains  in  your  little  finger 
than  she  has  in  her  whole  body. 

Daisy.  [Gravely.]  She  has  something  that  I  haven't 
got,  George,  and  I'd  give  my  soul  to  have. 

George.     [Embarrassed.]     I    don't    know    what    you 


SCENE  v]  EAST  OF  SUEZ  91 

mean.     [Changing  the  conversation  abruptly.]     Daisy,  now 
that  I'm  going  away  .  ,  . 

Daisy.  [Interrupting.]  Are  you  really  going  to-mor- 
row? 

George.  [Breezily.]  I'm  quite  well.  I'm  ashamed  to 
have  stayed  so  long. 

Daisy.  I  don't  look  forward  very  much  to  the  long, 
empty  days  when  you're  no  longer  here. 

George.  [Seriously.]  I  must  go,  Daisy.  I  really 
must. 

Daisy.  [After  a  moment's  pause.]  What  were  you 
going  to  say  to  me.^*  Don't  thank  me  for  anything  I  may 
have  done.     It's  given  me  a  happiness  I  never  knew  before. 

George.  Except  for  you  I  should  have  died.  And 
when  I  think  of  the  past  I  am  ashamed. 

Daisy.  What  does  the  past  matter?  The  past  is  dead 
and  gone. 

George.  And  I'm  ashamed  when  I  think  how  patient 
you  were  when  I  was  irritable,  how  kind  and  thoughtful. 
I  hardly  knew  I  wanted  a  thing  before  you  gave  it  to  me. 
Sometimes  when  I  felt  I  couldn't  breathe,  the  tenderness  of 
your  hand  on  my  forehead — oh,  it  was  like  a  dip  in  a  high- 
land stream  on  a  summer  day.  I  think  I  never  knew  that 
there  was  in  you  the  most  precious  thing  that  anyone  can 
have,  goodness.     Oh,  Daisy,  it  makes  me  feel  so  humble. 

Daisy.  Goodness?  [With  the  shadow  of  a  laugh.]  Oh, 
George. 

George.  It's  because  Harry  is  better  and  simpler  than 
I  am  that  he  was  able  to  see  it  in  you.  He  felt  it  in  you 
always  and  he  was  right. 

[The  Amah  comes  in. 

Daisy.     [Sharply.]     What  d'you  want? 

[The  Amah  crosses  from  one  to  the  other  and  a  thin 
smile  crosses  her  eyes. 

Amah.     Master  telephone,  Daisy. 

Daisy.     Why  didn't  you  take  the  message? 

[She  is  about  to  go  into  the  house. 


92  EAST  OF  SUEZ  [scene  v 

Amah.  He  have  go  now.  He  say  very  much  hurry. 
I  say  no  can  findee  you.     I  think  you  go  out. 

Daisy.     Why  did  you  say  that? 

Amah.     I  think  more  better,  maybe. 

George,  [Smiling.]  That's  right,  amah.  Never  tell 
the  truth  when  a  he  will  do  as  well. 

Daisy.     Well,  what  was  the  message? 

Amah.  Master  say  he  must  to  go  Tientsin.  Very 
important  business.  No  come  back  to-night.  Come  back 
first  train  to-morrow. 

Daisy.  Very  well.  Tell  the  boy  that  we  shall  be  only 
two  to  dinner. 

Amah.     I  go  talkee  he. 

[Exit. 

George.  [Urbayiely.]  I  say,  I  don't  want  to  be  an  awful 
trouble  to  you.  I  think  Td  better  go  back  to  my  own 
place  to-night. 

Daisy.     [Looking  at  him.]     Why  should  you  do  that? 

George.     I  was  going  to-morrow  anyway. 

Daisy.  Do  you  think  my  reputation  is  such  a  sensitive 
flower  ? 

George.  [Lightly.]  Of  course  not.  But  people  aren't 
very  charitable.  It  seems  rather  funny  I  should  stay  here 
when  Harry's  away. 

Daisy.     What  do  you  suppose  I  care  if  people  gossip? 

George.     I  care  for  you. 

Daisy.  [With  a  smile,  almost  archly.]  It's  not  very 
flattering  to  me  that  you  should  insist  on  going  the 
moment  Harry  does.  Do  I  bore  you  so  much  as  all 
that? 

George.  [With  a  chuckle.]  How  can  you  talk  such 
nonsense?  I  haven't  wanted  to  get  well  too  quickly.  I've 
so  enjoyed  sitting  quietly  here  while  you  read  or  sewed. 
I've  got  so  much  in  the  habit  of  seeing  you  about  me  that 
if  I  don't  go  at  once  I  shall  never  be  able  to  bring  myself 
to  go  at  all. 

Daisy.     Since  that  horrible  accident  I've  been  rather 


SCENE  v]  EAST  OF  SUEZ  93 

nervous  at  the  thought  of  sleeping  here  by  myself.  I'm 
terrified  at  the  thought  of  being  left  alone  to-night. 

George.  Come  in  with  me,  then.  The  Knoxes  will 
be  delighted  to  put  you  up  for  the  night. 

Daisy.  [With  a  sudden  change  of  manner.]  I  don't 
want  you  to  go,  George.     I  want  you  to  stay. 

George.  [As  serious  as  she  is.]  Daisy,  don't  be  too 
hard  on  me.  You  don't  know.  You  don't  know.  [With 
an  effort  he  regains  his  self-control  and  returns  to  his  easy, 
chaffing  tone.]  Don't  forget  it's  not  only  a  wound  in  the 
lung  that  I've  been  suffering  from.  While  you  and  the 
doctor  between  you  have  been  patching  that  up,  I've  been 
busy  sticking  together  the  pieces  of  a  broken  heart.  It's 
nicely  set  now,  no  one  could  tell  that  there'd  ever  been 
anything  wrong  with  it,  but  I  don't  think  it  would  be  very 
wise  to  give  it  a  sudden  jolt  or  jerk. 

Daisy.  [In  a  low  quivering  voice.]  Why  do  you  say 
things  like  that."*  What  is  the  good  of  making  pre- 
tences ? 

George.  [Determined  to  keep  the  note  of  lightness.]  It 
was  very  silly  of  me  to  bother  you  with  my  little  troubles. 
It  was  very  hot.  I  was  overworked  and  nervous  at  the 
time  or  I  shouldn't  have  made  so  much  of  it.  I'm  sure 
that  you'll  be  as  pleased  as  I  am  to  know  that  I'm  making 
a  very  good  recovery,  thank  you. 

Daisy.  [As  though  asking  a  casual  question.]  You 
don't  care  for  me  any  more? 

George.  I  have  the  greatest  affection  for  you.  I 
admire  you  and  of  course  I'm  grateful  to  you.  But  it  I 
thought  I  was  in  love  with  you  I  was  mistaken. 

Daisy.  Do  you  know  why  I  wouldn't  have  a  profes- 
sional nurse  and  when  you  were  unconscious  for  two  days 
refused  to  leave  you  for  a  minute.''  Do  you  know  why, 
afterwards,  at  night  when  you  grew  delirious  I  wouldii'r 
let  Harry  watch  you?  I  said  it  would  intirfcre  with  his 
work.  I  dared  not  leave  you  for  a  single  moment.  Ami 
it  was  your  secret  and  mine.     I  wouldn't  let  anybody  ni 


94  EAST  OF  SUEZ  [scene  v 

the  world  share  it  with  me.  Do  you  know  what  you  said 
in  your  dehrium? 

George.  [Disturbed.]  I  expect  I  talked  an  awful  lot 
of  rot.     People  always  do,  I  believe. 

Daisy.  [Passioitately.]  You  used  to  call  me,  "Daisy, 
Daisy,  "  as  though  your  heart  was  breaking.  And  when  I 
leaned  over  you  and  said:  "I'm  here,  "  you  would  take  my 
face  in  your  hands  so  that  I  could  hardly  believe  you 
weren't  conscious.     And  you  said:   "I  love  you." 

George,    Oh,  God! 

Daisy.  And  sometimes  I  didn't  know  how  to  calm  you. 
You  were  frantic  because  you  thought  they  were  taking 
me  away  from  you.  "I  can't  bear  it,  "  you  said,  "I  shall 
die."  I  had  to  put  my  hands  over  your  mouth  so  that  no 
one  should  hear. 

George.  I  didn't  know  what  I  was  saying.  I  wasn't 
myself.     It  was  just  the  madness  of  the  fever. 

Daisy.  And  sometimes  you  were  so  exquisitely  tender. 
Your  voice  was  soft  and  caressing.  And  you  called  me 
by  sweet  names  so  that  the  tears  ran  down  my  cheeks. 
You  thought  you  held  me  in  your  arms  and  you  pressed 
me  to  your  heart.  You  were  happy  then;  you  were  so 
happy  that  I  was  afraid  you'd  die  of  it,  I  know  what  love 
is  and  you  love  me. 

George.  For  God's  sake,  stop.  Why  do  you  torture 
me.? 

Daisy.  And  then  you  were  madly  jealous.  You  hated 
Harry.     I  think  you  could  have  killed  him. 

George.  That's  not  true.  That's  infamous.  Never. 
Never. 

Daisy.  Oh,  you  can  say  that  with  your  lips!  Some- 
times you  thought  he  put  his  arms  round  me  and  kissed 
me  and  you  sobbed  aloud.  Oh,  it  was  so  painful.  I  forgot 
that  you  were  unconscious  and  I  took  your  hands  and  said: 
"He's  not  here.  You  and  I  are  alone,  alone,  alone."  And 
sometimes  I  think  you  understood.  You  fell  back.  And 
a  look  of  peace  came  on  your  face  as  if  you  were  in  heaven 


SCENE  v]  EAST  OF  SUEZ  95 

and  you  said — do  you  know  what  you  said?     You  said: 
"Beloved,  beloved,  beloved." 

[Her  voice  breaks  and  the  tears  course  down  her  cheeks. 
George  is  shattered  by  what  she  has  told  him. 

George.  I  suppose  there  are  few  of  us  that  wouldn't 
turn  away  from  ourselves  in  horror  if  the  innermost 
thoughts  of  our  heart,  the  thoughts  we're  only  con- 
scious of  to  hate,  were  laid  bare.  But  that  shameful 
thing  that  showed  itself  in  me  isn't  me.     I  disown  it  .  .  . 

Daisy.  I  thought  you  had  more  courage.  I  thought 
you  had  more  sense.  Do  you  call  that  you,  a  few  conven- 
tional prejudices.''  The  real  you  is  the  love  that  consumes 
you  more  hotly  than  ever  the  fever  did.  The  only  you 
is  the  you  that  loves  me.  The  rest  is  only  frills.  It's  a 
domino  that  you  put  on  at  a  masked  ball. 

George.  You  don't  know  what  you  say.  Frills?  It's 
honour,  and  duty,  and  decency.  It's  everything  that 
makes  it  possible  for  me  to  cling  to  the  shadow  of  my  self- 
respect. 

Daisy.  Oh,  all  that  means  nothing.  You  fool.  You 
might  as  well  try  with  your  bare  hands  to  stop  the  flow 
of  the  Yangtze. 

George.  If  I  perish  I  perish.  Oh,  of  course  I  love  you. 
All  night  I'm  tortured  with  love  and  tortured  with  jeal- 
ousy, but  the  day  does  come  at  last  and  then  I  can  get  hold 
of  myself  again.  My  love  is  some  horrible  thing  gnawing 
at  my  heart-strings.  I  hate  it  and  despise  it.  But  I  can 
fight  it,  fight  it  all  the  time.  Oh,  I've  been  here  too  long. 
I  ought  to  have  got  back  to  work  long  ago.  Work  is  my 
only  chance.     Daisy,  I  beseech  you  to  let  mc  go. 

Daisy.     How  can  I  let  you  go?     I  love  you. 

George.  [Thunderstruck.]  You?  [Impatiently,  with  a 
shrug  of  the  shoulders.]     Oh,  you're  talking  nonsense. 

Daisy.  Why  do  you  suppose  I've  said  all  these  things? 
Do  you  think  a  woman  cares  twopence  for  a  man's  love 
when  she  doesn't  love  him? 

George.     Oh,  it's  impossible.     You  don't  know  what 


96  EAST  OF  SUEZ  [scene  v 

you're  saying.  I  know  how  good  and  kind  you  are. 
You've  been  touched  by  my  love.  You  mistake  pity  for 
love. 

Daisy.  I'm  not  good  and  I'm  not  kind.  There's  no 
room  in  my  soul  for  pity.  In  my  soul  there's  only  a  raging 
hunger.  If  I  know  what  you  feel  it's  because  I  feel  it  too. 
I  love  you,  I  love  you,  I  love  you. 

George.     And  Harry? 

Daisy.  What  do  I  care  about  Harry?  I  hate  him  be- 
cause he's  stood  between  me  and  you. 

George.     He  is  your  husband.     He  is  my  friend. 

Daisy.  He  doesn't  exist.  I've  loved  you  always 
from  the  first  day  I  saw  you.  The  others  were  nothing  to 
me,  Lee  Tai  and  Harry  and  the  rest.  I've  loved  you 
always.  I've  never  loved  anyone  but  you.  All  these 
years  I've  kept  the  letters  you  wrote  to  me.  I've  read 
them  till  I  know  every  word  by  heart.  They're  all  blurred 
and  smudged  with  the  tears  I've  wept  over  them.  They 
were  all  I  had.  Do  you  think  I'm  going  to  let  you  go  now? 
All  my  pain,  all  my  anguish,  are  nothing  any  more.  I 
love  you  and  you  love  me. 

George.     Oh,  don't,  don't! 

Daisy.  You  can't  leave  me  now.  If  you  leave  me  I 
shall  kill  myself. 

George.  I  must  go  away.  I  must  never  see  you  again. 
Whatever  happens  we  must  never  meet. 

Daisy.  [Exasperated  and  impatient.]  That's  impossi- 
ble.    What  will  you  say  to  Harry? 

George.     If  need  be  I'll  tell  him  the  truth. 

Daisy.  What  difference  will  that  make?  Will  you 
love  me  any  the  less?  Yes,  tell  him.  Tell  him  that  I  love 
you  and  you  only  and  that  I  belong  to  you  and  to  you  only. 

George.  Oh,  Daisy,  for  God's  sake  try  and  control 
yourself.     We  must  do  our  duty,  we  must,  we  must. 

Daisy.  I  know  no  duty.  I  only  know  love.  There's 
no  room  in  my  soul  for  anything  else.  You  say  that  love 
is  hke  a  wild  beast  gnawing  at  your  entrails.     My  love  is 


SCENE  v]  EAST  OF  SUEZ  97 

a  liberator.  It's  freed  me  from  a  hateful  past.  It's  freed 
me  from  Harry.  There's  nothing  in  the  world  now  but 
you  and  me  and  the  love  that  joins  us.  I  want  you,  I 
want  you. 

George.  Don't,  don't!  Oh,  this  is  madness!  There's 
only  one  thing  to  be  done.  God,  give  me  strength. 
Daisy,  you  know  I  love  you.  I  love  you  with  all  my 
heart  and  soul.  But  it's  good-bye.  I'll  never  see  you 
again.     Never.     Never.     So  help  me  God. 

Daisy.  How  can  you  be  so  cruel.''  You're  heartless. 
I've  wanted  you  all  these  years.  I've  hungered  for  you. 
You  don't  know  what  my  humiliation  has  been.  Pity  me 
because  I  loved  you.  If  you  leave  me  now  I  shall  die. 
You  open  the  doors  of  heaven  to  me  and  then  you  slam 
them  in  my  face.  Haven't  you  made  me  unhappy 
enough?  You'd  have  done  better  to  kill  me  ten  years 
ago.  You  trampled  me  in  the  mud  and  then  you  left  me. 
Oh,  what  shall  I  do-f*  [She  sinks  down  to  the  ground,  zueep- 
ing  as  though  her  heart  would  break.  George  looks  at  her 
for  a  minute,  his  face  distorted  with  agony;  he  clenches  his 
hands  in  the  violence  of  his  effort  to  control  himself.  He 
takes  his  hat  and  walks  slowly  towards  the  gate.  He  with- 
draws the  bolt  that  holds  it.  IFhen  Daisy  hears  the  sound 
of  this  she  starts  to  her  feet  and  staggers  towards  him.] 
George.     No,  no.     Not  yet. 

[She  staggers  and  with  a  cry  falls  headlong.     She  has 
fainted. 

George.  [Rushing  towards  her.]  Daisy.  Daisy.  [He 
kneels  down  and  takes  her  head  in  his  hands.  He  is  fearfully 
agitated.]  Oh,  my  darling,  what  is  it?  Oh,  my  God! 
Daisy!  Speak  to  me.  [Calling.]  Amah,  amah!  [Daisy 
slowly  opens  her  eyes.]  Oh,  my  beloved!  I  thought  you 
were  dead. 

Daisy.     Lift  me  up. 

George.     You  can't  stand. 

[He  raises  her  to  her  feet  so  that  when  she  is  erect  she  is  in 
his  arms.     She  puts  her  arms  round  his  neck. 


98  EAST  OF  SUEZ  [scene  v 

Daisy.     Don't  leave  me. 

George.     My  precious.     My  beloved. 

[She  turns  her  face  to  him,  offering  her  lips,  and  he  bends 
his   head  and  kisses   her.     She  closes   her   eyes   in 
ecstasy. 
Daisy.     Take  me  in.     I  feel  so  ill. 
George.     I'll  carry  you. 

[He  lifts  her  up  and  carries  her  into  the  house.  From 
the  opposite  side  the  Amah  appears.  She  goes  to 
the  gateway  and  slips  the  bolt  forward  into  position. 
Then  she  comes  to  the  tea-table,  sits  down  and  takes  a 
scone. 
Amah.     Hi,  hi. 

[She  bites  the  scone  and  chews  placidly.     On  her  face  is 
a  smirk  of  irony. 


END   OF   SCENE   V 


SCENE  VI 


SCENE  VI 

A  small  room  in  a  Chinese  house  in  Peking. 
The  walls  are  whitewashed,  but  the  whitewash  is  not  a  little 
stained.     Three  or  jour  scrolls  hang  on  them,  written 
over  in  large  characters  with  inscriptions.     On  the  floor 
is  matting.     The  only  furniture  consists  of  a  table,  with 
a  couple  of  chairs,  a  wooden  pallet  covered  with  matting, 
with  cushions  at  one  end  of  it,  and  a  Korean  chest  heavily 
ornamented  with  brass.     At  the  back  are  two  windows, 
elaborately  latticed  and  covered  with  rice  paper,  and  a 
lightly  carved  door. 
Daisy  is  seated  in  one  of  the  chairs.     She  has  taken  her  pocket 
mirror  out  of  her  bag  and  is  looking  at  herself.     She  is 
gay  and  happy.     The  Amah  comes  in.     She  carries  a 
long-necked  vase  in  which  are  a  couple  of  carnations. 
Amah.     I  bring  you  flowers  make  room  look  pletty. 
Daisy.     Oh,   you   nice   old   thing!     Put   them   on   the 
table. 

Amah.     You  look  at  yourself  in  looking-glass? 
Daisy.     I'm  looking  young.     It  suits  me  to  be  happy. 
Amah.     You  very  pletty  girl.     I  very  pletty  girl  long 
time  ago.     You  look  alia  same  me  some  day. 
Daisy.     [Amused.]     Heaven  forbid. 
Amah.     You  velly  good  temper  to-day,  Daisy.     You 
glad  because  George  come. 

Daisy.     I  didn't  see  him  yesterday. 
Amah.     He  keep  you  waiting. 

Daisy.  The  wretch.  He  always  keeps  me  waiting. 
But  what  do  I  care  as  long  as  he  comes?  We  shall  have 
three  hours.      Perhaps  he'll  dine  here.     If  he  says  he  can, 

101 


102  EAST  OF  SUEZ  [scene  vi 

give  him  what  he  Ukes  to  eat.     No  one  can  make  such 
delicious  things  as  you  can  if  you  want  to. 

Amah.     You  try  flatter  me, 

Daisy.  I  don't.  You  know  very  well  you're  the  best 
cook  in  China. 

Amah.  [Tickled.]  Oh,  Daisy!  I  know  you  more 
better  than  you  think. 

Daisy.  You're  a  wicked  old  woman.  [She  gives  her 
a  kiss  on  both  cheeks.]  What  are  they  making  such  a  row 
about  next  door.'' 

Amah.  Coolie,  he  got  killed  this  morning.  He  have 
two  small  children.     Their  mother,  she  die  long  time  ago. 

Daisy.     How  dreadful!     Poor  little  things. 

Amah.     You  like  see  them.     They  here. 

[She  goes  to  the  door  and  beckons.  A  little,  old,  shabby 
Chinaman  comes  in  with  two  tiny  children,  a  boy  and 
a  girl,  one  holding  on  to  each  hand.  They  are  very 
solemn  and  shy  and  silent. 

Daisy.     Oh,  what  lambs! 

Amah.  They  no  got  money.  This  old  man  he  say  he 
take  them  and  he  bring  them  up.  But  he  only  coolie. 
He  no  got  much  money  himself, 

Daisy.     Is  he  related  to  them? 

Amah.  No,  him  just  velly  good  man.  He  no  can  do 
velly  much.  He  just  do  what  he  can.  The  neighbours, 
they  help  little. 

Daisy.  But  I'll  help  too.  Have  you  got  any  money 
on  you.^ 

Amah.     I  got  two,  three  dollars. 

Daisy.     What's  the  good  of  that.?     Let  him  have  this. 
[She  has  a  chain  of  gold  beads  round  her  neck.     She 
takes  it  off  and  puts  it  in  the  old  mans  hands. 

Amah.     That  chain  very  ispensive,  Daisy. 

Daisy.  What  do  I  care?  Let  him  sell  it  for  what  it'll 
fetch.  It'll  bring  me  luck.  [To  the  old  man.]  You 
sabe? 

[He  nods,  smiling. 


SCENE  vi]  EAST  OF  SUEZ  lOS 

Amah.     I  think  he  understand  all  right. 

Daisy.  [Looking  at  the  children.]  Aren't  they  sweet? 
And  so  solemn.  [To  the  Amah.]  You  go  chop-chop  to 
the  toy  shop  opposite  and  buy  them  some  toys. 

Amah.     Can  do. 

[She  goes  out.  Daisy  takes  the  children  and  sets  them 
up  on  the  table. 

Daisy.  [Charmingly.]  Now  you  come  and  talk  to  me. 
Sit  very  still  now  or  you'll  fall  off.  [To  the  little  boy.]  I 
wonder  how  old  you  are.     [To  the  old  man.]     Wu?     Liu? 

Old  Man.     Liu. 

Daisy.  [To  the  little  boy.]  Six  years  old.  Good 
gracious,  you're  quite  a  man.  If  I  had  a  little  boy  he'd 
be  older  than  you  now.  If  I  had  a  little  boy  I'd  dress  him 
in  such  smart  things.  And  I'd  bath  him  myself.  I 
wouldn't  let  any  horrid  old  amah  bath  him.  And  I 
wouldn't  stuff  him  up  with  sweets  like  the  Chinese  do; 
I'd  give  him  one  piece  of  chocolate  when  he  was  a  good 
boy.  Gracious  me,  I've  got  some  chocolates  here.  Wait 
there.  Sit  quite  still.  [She  goes  over  to  the  shelf  on  which 
is  a  bag  of  chocolates.]  There's  one  for  you  and  one  for 
you  and  {to  the  old  man)  one  for  you.  And  here's  one  for 
me. 

[The  children  and  the  Chinaman  eat  the  chocolates 
solemnly.  The  Amah  returns  with  a  doll  and  a 
child's  Peking  cart. 

Amah.     Have  catchee  toys. 

Daisy.  Look  what  kind  old  amah  has  brought  you. 
[She  lifts  the  children  off  the  table  and  gives  the  doll  to  the 
little  girl  and  the  cart  to  the  boy.]  Here's  a  beautiful  doll 
for  you  and  here's  a  real  cart  for  you.  [She  sits  doivn  on 
the  floor.]     Look,  the  wheels  go  round  and  everything. 

Amah.     Have  got  more  presents. 

[She  takes  out  of  her  sleeve  little  bladders  with  mouth- 
piece attached  so  that  they  can  be  blown  up. 

Daisy.  What  on  earth  is  this?  Oh,  I  love  them!  Wi; 
must  all  have  one.     [She  distributes  them  and  they  all  blow 


104  EAST  OF  SUEZ  [scene  vi 

them  up.     There  is  the  sound  of  scratching  at  the  door.] 
Who's  that,  I  wonder? 

Amah.     If  you  say  come  in,  perhaps  you  see. 

Daisy.  Open  the  door,  you  old  silly.  [She  begins  to 
blow  up  the  balloon  again.  The  Amah  goes  to  the  door  and 
opens  it.  Lee  Tai  steps  in.]  Lee  Tai.  Send  these  away. 
[The  Amah  makes  a  sign  to  the  old  Chinaman,  he  gives  each 
child  a  hand  and  with  their  presents  they  go  out.  The  Amah 
slips  out  after  them.]     I  thought  you  were  dead. 

Lee  Tai.     I'm  very  much  alive,  thank  you. 

Daisy.     Ah,  well,  we'll  hope  for  the  best. 

Lee  Tai.     I  trust  you're  not  displeased  to  see  me. 

Daisy.  [Gaily.]  If  you'd  come  yesterday  I  should 
certainly  have  smacked  your  face,  but  to-day  I'm  in  such 
a  good  humour  that  even  the  sight  of  you  is  tolerable. 

Lee  Tai.     You  weren't  here  yesterday. 

[The  Amah  co^nes  in  carrying  on  a  little  wooden  tray 
two  Chinese  bowls  and  a  tea-pot. 

Daisy.  My  dear  Mamma  seems  to  think  you've  come 
to  pay  me  a  visit.     You  mustn't  let  me  keep  you  too  long. 

Lee  Tai.     You  are  expecting  someone?     I  know. 

[The  Amah  goes  out. 

Daisy.     [Chaffing  him.]     I  always  said  you  had  a  brain. 

Lee  Tai.  No  better  a  one  than  yours,  Daisy.  It  was 
a  clever  trick  when  you  got  me  to  try  to  put  your  husband 
out  of  the  way  so  that  you  should  be  free  for  George  Con- 
way. 

Daisy.  It  was  nothing  to  do  with  me.  I  told  you  I'd 
have  nothing  to  do  with  it.  You  made  a  hash  of  it.  One 
can  forgive  the  good  for  being  stupid,  but  when  rascals 
are  fools  there's  no  excuse. 

Lee  Tai.  The  best  laid  schemes  of  mice  and  men,  as 
my  favourite  poet  Robert  Burns  so  elegantly  puts  it,  gang 
aft  agley. 

Daisy.  I  don't  care  a  damn  about  your  favourite  poet. 
What  have  you  come  here  for  to-day? 

Lee  Tai.     As  it  turns  out  I  do  not  see  that  there  is  any 


SCENE  vi]  EAST  OF  SUEZ  10. 5 

cause  for  regret  that  George  Conway  got  the  knife  thrust 
that  was  intended  for  your  husband.  I  wish  it  had  gone 
a  Httle  deeper. 

Daisy.  [Coolly.]  As  it  turns  out  you  only  did  me  a 
service.  But  still  you  haven't  told  me  to  what  I  owe  the 
honour  of  your  visit. 

Lee  Tai.  Civility.  I  like  to  be  on  friendly  terms  with 
my  tenants. 

Daisy.     [Surprised.]     Your  what.? 

Lee  Tai.  [Urbanely.]  This  happens  to  be  my  house. 
When  I  discovered  that  your  honourable  mother  had  taken 
the  rooms  in  this  courtyard  so  that  you  might  have  a  place 
where  George  Conway  and  you  could  safely  meet  I  thought 
I  would  buy  the  whole  house. 

Daisy.     I  hope  it  was  a  good  investment. 

Lee  Tai.  Otherwise  perhaps  I  should  have  hesitated. 
It  was  clever  of  you  to  find  so  convenient  a  place.  With 
a  curio  shop  in  front  into  which  anyone  can  be  seen  going 
without  remark  and  an  ill-lit  passage  leading  to  this  court, 
it  is  perfect. 

Daisy.     What  is  the  idea.? 

Lee  Tai.  [With  a  twinkle  in  his  eyes.]  Are  you  a 
little  frightened? 

Daisy.  Not  a  bit.  What  can  you  do?  You  can  tell 
Harry.     Tell  him. 

Lee  Tai.     [Affably.]     George  Conway  would  be  ruined. 

Daisy.  [With  a  shrug.]  He'd  lose  his  job.  Perhaps 
you  would  give  him  another.  You're  mixed  up  in  so  many 
concerns  you  could  surely  find  use  for  a  white  man  who 
speaks  Chinese  as  well  as  George  does. 

Lee  Tai.     I  find  even  your  shamelessness  attractive. 

Daisy.     I'm  profoundly  grateful  for  the  compliment. 

Lee  Tai.  But  do  not  fear.  I  shall  do  nothing.  I 
bought  this  house  because  I  like  you  to  know  that  always, 
always  you  arc  in  my  hand.  Where  you  go,  I  go.  Where 
you  are,  I  am.  Sometimes  you  do  not  see  nu-,  but  never- 
theless I  am  close.     I  do  nothing.      I  am  contcnr  to  wait. 


106  EAST  OF  SUEZ  [scene  vi 

Daisy.  Your  time  is  your  own.  I  have  no  objection 
to  your  wasting  it. 

Lee  Tai.  One  day,  and  I  think  that  day  is  not  very 
far  distant,  you  will  come  to  me.  I  was  the  first  and  I 
shall  be  the  last.     If  you  like  I  will  marry  you. 

Daisy.  [fFith  a  smile.]  I  thought  you  had  two,  if  not 
three,  wives  already.  I  fancy  that  number  four  would 
have  rather  a  thin  time. 

Lee  Tai.  My  wife  can  be  divorced.  I  am  willing  to 
marry  you  before  the  British  Consul.  We  will  go  to 
Penang.  I  have  a  house  there.  You  shall  have  motor 
cars. 

Daisy.  It's  astonishing  how  easy  it  is  to  resist  tempta- 
tions that  don't  tempt  you. 

Lee  Tai.  Sneer.  What  do  I  care?  I  wait  .  ,  . 
What  have  you  to  do  with  white  men?  You  are  not  a 
white  woman.  What  power  has  this  blood  of  your  father's 
when  it  is  mingled  with  the  tumultuous  stream  which  you 
have  inherited  through  your  mother  from  innumerable 
generations?  Our  race  is  very  pure  and  very  strong. 
Strange  nations  have  overrun  us,  but  in  a  little  while  we 
have  absorbed  them  so  that  no  trace  of  a  foreign  people  is 
left  in  us.  China  is  like  the  Yangtze,  which  is  fed  by 
five  hundred  streams  and  yet  remains  unchanged,  the 
river  of  golden  sand,  majestic,  turbulent,  indifferent,  and 
everlasting.  What  power  have  you  to  swim  against  that 
mighty  current?  You  can  wear  European  clothes  and  eat 
European  food,  but  in  your  heart  you  are  a  Chinawoman. 
Are  your  passions  the  weak  and  vacillating  passions  of  the 
white  man?  There  is  in  your  heart  a  simplicity  which  the 
white  man  can  never  fathom  and  a  deviousness  which  he 
can  never  understand.  Your  soul  is  like  a  rice  patch 
cleared  in  the  middle  of  the  jungle.  All  around  the  jungle 
hovers,  watchful  and  jealous,  and  it  is  only  by  ceaseless 
labour  that  you  can  prevent  its  inroads.  One  day  your 
labour  will  be  vain  and  the  jungle  will  take  back  its  own. 
China  is  closing  in  on  you. 


SCENE  vi]  EAST  OF  SUEZ  107 

Daisy.  My  poor  Lee  Tai,  you're  talking  perfect  non- 
sense. 

Lee  Tai.  You're  restless  and  unhappy  and  dissatisfied 
because  you're  struggling  against  instincts  which  were 
implanted  in  your  breast  when  the  white  man  was  a 
hungry,  naked  savage.  One  day  you  will  surrender.  You 
will  cast  off  the  white  woman  like  an  outworn  garment. 
You  will  come  back  to  China  as  a  tired  child  comes  back 
to  his  mother.  And  in  the  immemorial  usages  of  our  great 
race  you  will  find  peace. 

[There  is  a  moment's  silence.     Daisy  passes  her  hand 
over  her  forehead.     Against  her  will  she  is  strangely 
impressed  by  what  Lee  Tai  has  said.     She  gives  a 
little  shudder  and  recovers  herself. 
Daisy.     George  Conway  loves  me,  and  I —    Oh! 
Lee  Tai.     The  white  man's  love  lasts  no  longer  than  a 
summer  day.     It  is  a  red,  red  rose.     Now  it  flaunts  its 
scented   beauty   proudly   in   the   sun    and   to-morrow  its 
petals,  wrinkled  and  stinking,  lie  scattered  on  the  ground. 
[There  is  a  sound  of  a  footstep  in  the  courtyard  outside. 
Daisy.     Here  he  is.     Go  quickly. 

[George  opens  the  door  and  stops  as  he  catches  sight 
of  Lee  Tai. 
George.     HuUoa,  who's  this.^ 

[Lee  Tai  steps  forward,  smiling  and  obsequious. 
Lee  Tai.     I  am  the  owner  of  this  house.     The  amah 
complained  that  the  roof  leaked  and  I  came  to  see   for 
myself. 

George.  [Frowning.]  It's  of  no  consequence.  Please 
don't  bother  about  it. 

Lee  Tai.  I  wish  I  needn't.  The  amah  has  a  virulent 
and  active  tongue — I  am  afraid  she  will  give  me  no  peace 
till  I  have  satisfied  her  outrageous  demands. 

George.     You  speak  extraordinarily  good  ICnglish. 
Lee  Tai.     I  am  a  graduate  of  the  University  of  Edin- 
burgh. 

Daisy.     Robert  Burns  is  his  favourite  poet. 


108  EAST  OF  SUEZ  [scene  vi 

Lee  Tai.  I  spent  a  year  at  Oxford  and  another  at 
Harvard.  I  can  express  myself  in  English  not  without 
fluency. 

George.  Let  me  compHment  you  on  your  good  sense 
in  retaining  your  national  costume.  I  think  it  a  pity 
that  the  returned  students  should  insist  on  wearing  ugly 
tweed  suits  and  billycock  hats. 

Lee  Tai.  I  spent  eight  years  abroad.  I  brought  back 
with  me  no  more  admiration  for  Western  dress  than  for 
Western  civilization. 

George.     That  is  very  interesting. 

Lee  Tai.     You  are  pleased  to  be  sarcastic. 

George.  And  you,  I  think,  are  somewhat  supercilious. 
Believe  me,  the  time  has  passed  when  the  mandarins  of 
your  country,  in  their  impenetrable  self-conceit,  could 
put  up  a  barrier  against  the  advance  of  civilization.  If 
you  have  any  love  for  China  you  must  see  that  her  only 
chance  to  take  her  rightful  place  in  the  world  is  to  accept 
honestly  and  sincerely  the  teaching  of  the  West. 

Lee  Tai.  And  if  in  our  hearts  we  despise  and  detest 
what  you  have  to  teach  us?  For  what  reason  are  you  so 
confident  that  you  are  so  superior  to  us  that  it  behooves  us 
to  sit  humbly  at  your  feet?  Have  you  excelled  us  in  arts 
or  letters?  Have  our  thinkers  been  less  profound  than 
yours?  Has  our  civilization  been  less  elaborate,  less  com- 
plicated, less  refined  than  yours?  Why,  when  you  lived 
in  caves  and  clothed  yourselves  with  skins  we  were  a  cul- 
tured people.  Do  you  know  that  we  tried  an  experiment 
which  is  unique  in  the  world  ? 

George.     [Good-naturedly.]     What  experiment  is  that? 

Lee  Tai.  We  sought  to  rule  this  great  people  not  by 
force,  but  by  wisdom.  And  for  centuries  we  succeeded. 
Then  why  does  the  white  man  despise  the  yellow?  Shall 
I  tell  you? 

George.     Do. 

Lee  Tai.  [With  a  smiling  contempt.]  Because  he  has 
invented    the   machine-gun.      That   is   your  superiority. 


SCENE  vi]  EAST  OF  SUEZ  109 

We  are  a  defenceless  horde  and  you  can  blow  us  into 
eternity.  [With  a  tinge  of  sadness.]  You  have  shattered 
the  dream  of  our  philosophers  that  the  world  could  be 
governed  by  the  power  of  law  and  order  .  .  .  And  now 
you  are  teaching  our  young  men  your  secret.  You  have 
thrust  your  hideous  inventions  upon  us.  Fools.  Do  you 
not  know  that  we  have  a  genius  for  mechanics.?  Do  you 
not  know  that  there  are  in  this  country  four  hundred 
millions  of  the  most  practical  and  industrious  people  in 
the  world?  Do  you  think  it  will  take  us  long  to  learn? 
And  what  will  become  of  your  superiority  when  the  yellow 
man  can  make  as  good  guns  as  the  white  and  fire  them  as 
straight?  You  have  appealed  to  the  machine-gun  and 
by  the  machine-gun  shall  you  be  judged. 

[There  is  a  pause.     Suddenly  George  gives  Lee  Tai 
a  scrutinizing  glance. 

George.     What  is  your  name? 

Lee  Tai.     [With  a  thin,  amused  smile.]     Lee  Tai  Cheng. 

George.  [With  a  frigid  politeness.]  I'm  sure  you  are 
very  busy,  Mr.  Lee.     I  won't  detain  you  any  longer. 

Lee  Tai.     [Still  smiling.]     I  wish  you  a  good  day. 
[He  bows  slightly   and  shakes  his  ozvn   hands   in   the 
Chinese  manner.     He  goes  out.     He  leaves  behind 
him  an  impression  that  is  at  once  ironic  and  sinister, 

George.     What  the  devil  is  he  doing  here? 

Daisy.  [Amused.]  He  came  to  make  me  an  offer  of 
marriage.  I  pointed  out  to  him  that  I  was  married  al- 
ready. 

George.  [Not  without  irritation.]  How  did  he  know 
you  were  here? 

Daisy.     He  made  it  his  business  to  find  out. 

George.     Docs  he  know  that  .  .  .   ? 

Daisy.  [Coolly.]  You  know  China  better  than  most 
Englishmen.  You  know  that  the  white  man  can  do 
n(jtliiiig  without  the  Chinese  knowing  it.  But  they  won't 
tell  other  white  men  unless — unless  it's  to  their  advantage 
to  do  so. 


110  EAST  OF  SUEZ  [scene  vi 

George.     You  told  me  that  this  house  belonged  to  the 

amah. 

Daisy.     [Smiling.]     That  was  a  slight  exaggeration. 

George.     You  put  it  very  mildly. 

Daisy.  You  said  you  wouldn't  come  to  the  temple. 
It  meant  finding  some  place  where  we  could  meet  or  never 
seeing  you  at  all. 

George.  [Sombrely.]  We  began  with  deceit  and  with 
deceit  we've  continued. 

Daisy.  [Tenderly.]  There's  no  deceit  in  my  love, 
George.     After  all,  our  love  is  the  only  thing  that  matters. 

George.  [With  a  certain  awkwardness.]  I'm  afraid 
I've  kept  you  waiting.  Andre  Leroux  came  to  see  me 
just  as  I  was  leaving  the  Legation. 

Daisy.  [Rememhering\  I  know.  Mrs.  Stopfort's 
young  man. 

George.  He  said  he  knew  Mrs.  Stopfort's  friends  were 
rather  anxious  about  her  future  and  he  wanted  them  to 
know  that  he  was  going  to  marry  her  as  soon  as  she  was 
free. 

Daisy.    Oh! 

George.  Of  course  it's  the  only  decent  thing  to  do, 
but  I  wasn't  sure  if  he'd  see  it.  He's  a  very  good  fellow. 
[With  a  smile.]  He  spent  at  least  half  an  hour  telling  me 
how  he  adored  Mrs.  Stopfort. 

Daisy.  [Good-humouredly.]  Oh,  you  know  I'm  not 
the  sort  of  woman  to  grouse  because  you're  a  little  late. 
I  can  always  occupy  myself  by  thinking  how  wonderful 
it  will  be  to  see  you.  And  if  I  get  bored  with  that  I  read 
your  letters  again. 

George.  I  shouldn't  have  thought  they  were  worth 
that. 

Daisy.  I  think  I  have  every  word  you  have  ever 
written  to  me — those  old  letters  of  ten  years  ago  and  the 
little  notes  you  write  to  me  now.  Even  though  they're 
only  two  or  three  lines,  saying  you'll  come  here  or  can't 
come,  they're  precious  to  me. 


SCENE  vi]  EAST  OF  SUEZ  111 

George.     But  do  you  keep  them  here? 

Daisy.  Yes,  they're  safe  here.  They're  locked  up  in 
that  box.  Only  amah  has  the  key  of  this  room  .  .  . 
George. 

George.    Yes. 

Daisy.     Will  you  do  something  for  me? 

George.     If  I  can. 

Daisy.  Will  you  dine  here  to-night?  Amah  will  get 
us  a  lovely  little  dinner. 

George.  Oh,  my  dear,  I  can't!  I've  got  an  official 
dinner  that  I  can't  possibly  get  out  of, 

Daisy.     Oh,  how  rotten! 

George.  But  I  thought  Harry  was  coming  back  this 
morning.     He's  been  gone  a  week  already. 

Daisy.  I  had  a  letter  saying  he  had  to  go  on  to  Kalgan. 
But  don't  say  anything  about  it.  He  told  me  I  was  to 
keep  it  a  secret. 

George.  He  must  hate  having  to  be  away  so  much 
as  he's  been  lately.  The  death  of  that  man  Gregson  has 
upset  things  rather. 

Daisy.  [Smiling.]  I  wish  I  could  thank  Gregson  for 
the  good  turn  he  did  ns  by  dying  at  the  psychological 
moment. 

George.  [Dryly.]  I  don't  suppose  that  was  his  in- 
tention. 

Daisy.  Except  for  that  Harry  would  have  insisted  on 
going  to  Chung-king.  Now  there's  no  possibility  of  that 
for  at  least  a  year. 

George.     I  suppose  not. 

Daisy.  We've  got  a  year  before  us,  George,  a  whole 
year.     And  in  a  year  anything  can  happen. 

George.  [Gravely.]  Do  you  never  have  any  feeling 
that  we've  behaved  rottenly  to  Harry? 

Daisy.  I?  I've  been  happy  for  the  first  tiiiu'  in  my 
life.  At  last  I've  known  peace  and  rest.  Oh,  Cicorgf,  I'm 
so  grateful  for  all  you've  given  me!  In  these  rhne  months 
you've  changed   the  whole  world   fur  mc.     I    thoii^hr    1 


112  EAST  OF  SUEZ  [scene  vi 

couldn't  love  you  more  than  I  did.  I  think  every  day  my 
love  grows  more  consuming. 

George.  [With  a  sigh.]  I've  never  known  a  single 
moment's  happiness. 

Daisy.  That's  not  true.  When  I've  held  you  in  my 
arms  I've  looked  into  your  eyes  and  I've  seen. 

George.  Oh,  I  know.  There've  been  moments  of 
madness  in  which  I  forgot  everything  but  that  I  loved  you. 
I'm  a  low  rotten  cad.  No  one  could  despise  me  more 
than  I  despise  myself.  I've  loved  you  so  that  there  was 
room  for  nothing  else  in  my  soul.  Waking  and  sleeping 
you've  obsessed  me. 

Daisy.     That's  how  I  want  you  to  love  me. 

George,  And  I've  hated  myself  for  loving  you.  I've 
hated  you  for  making  me  love  you.  I've  struggled  with 
all  my  might  and  a  hundred  times  I  thought  I'd  conquered 
myself  and  then  the  touch  of  your  hand,  the  softness  of 
your  lips — I  was  like  a  bird  in  a  cage,  I  beat  myself  against 
the  bars  and  all  the  time  the  door  was  open  and  I  hadn't 
the  will  to  fly  out. 

Daisy.  [Tenderly.]  Oh,  darling,  why  do  you  make 
yourself  unhappy  when  happiness  lies  in  the  hollow  of 
your  hand.'' 

George.     Have  you  never  regretted  anything."* 

Daisy.     Never. 

George.  You're  stronger  than  I  am.  I'm  as  weak  as 
dishwater.  It's  funny  that  it  should  have  taken  me  all 
these  years  to  find  it  out.  I  was  weak  from  the  beginning. 
But  I  was  weakest  of  all  that  day.  I  was  distracted,  I 
thought  you  were  dying,  I  forgot  everything  except  that 
I  loved  you. 

Daisy.  [With  passion.]  Oh,  my  sweetheart!  Don't 
you  remember  how,  late  in  the  night,  we  went  outside  the 
temple  and  looked  at  the  moonlight  on  the  walls  of  the 
Forbidden  City?     You  had  no  regrets  then. 

George.  [Going  on  with  his  own  thoughts.]  And  after- 
wards your  tears,  your  happiness,  the  dread  of  giving  you 


SCENE  \^]  EAST  OF  SUEZ  113 

pain  and  the  hot  love  that  burnt  me — I  was  in  the  toils 
then.  I  too  knew  a  happiness  that  I  had  never  known 
before.  On  one  side  was  honesty  and  duty  and  everything 
that  makes  a  man  respect  himself — and  on  the  other  was 
love.  I  thought  you'd  be  going  away  in  two  or  three 
weeks  and  that  would  be  the  end  of  it.  Oh,  it  was  no 
excuse — there  are  no  excuses  for  me,  I  can  never  look 
Harry  in  the  face  again,  but  though  my  heart  was  breaking 
at  the  thought,  I — I  knew  that  in  a  few  days  I  should  see 
you  for  the  last  time. 

Daisy.     [Scornfully.]    Do  you  think  I'd  have  gone  then? 

George.  And  then  came  that  sudden,  unexpected, 
disastrous  change  in  all  Harr^^'s  plans.  And  this  house 
and  all  the  sordid  horror  of  an  intrigue.  And  then  there 
was  nothing  to  do  but  face  the  fact  that  I  was  a  cur.  I 
wouldn't  wish  my  worst  enemy  the  torture  that  I've  under- 
gone. 

Daisy.  [Full  of  love  and  pity.]  Oh,  my  darling,  you 
know  I'd  do  anything  in  the  world  to  give  you  happiness! 

George.  [Sombrely  looking  azvay  from  her.]  Daisy,  I 
think  you  can  never  give  me  happiness,  but  you  can  help 
me,  not  to  make  amends  because  that's  impossible,  but 
to  .  .  .  [Impulsively,  looking  at  her  now.]  Oh,  Daisy,  do 
you  really  love  me? 

Daisy.     With  all  my  heart.     With  all  my  soul. 

George.     Then  help  me.     Let  us  finish. 

Daisy.     [Quickly.]     What  do  you  mean? 

George.  I  don't  want  to  seem  a  prig.  I  don't  want 
to  preach.  Heaven  knows,  I've  never  pretended  to  be  a 
saint.  But  what  we've  done  is  wrong.  You  must  see  that 
as  plainly  as  I  do. 

Daisy.     Is  it  wrong  to  love?     How  can  I  help  it? 

George.     Daisy,  I  want  to — cease  doing  wrong. 

Daisy.  You  make  me  impatient.  How  can  you  be  so 
weak? 

George.  I  want  you  to  believe  that  I  love  you.  Bui 
I  can't  go  on  with  this  deceit.      I'd  sooner  shoot  myself. 


Ill  EAST  OF  SUEZ  [scene  vi 

Daisy.     You  couldn't  say  that  if  you  loved  me  as  I  love 

you. 

George.     [Brutally.]     I  don't  love  you  any  more. 

Daisy.     [With  a  scornful  shrug.]     That's  not  true. 

George.  [Clenching  his  teeth.]  I  came  here  to-day  to 
tell  you  that — well,  that  it's  finished  and  done  with.  Oh, 
God,  I  don't  want  to  make  you  unhappy!  But  you  must 
see  we  can't  go  on.  Everything  that's  decent  in  me  revolts 
at  the  thought.     I  beseech  you  to  forget  me. 

Daisy.     As  if  I  could. 

George.     I'm  going  away  for  a  bit. 

Daisy.     [Startled.]     You?     Why? 

George.  I  didn't  trust  myself,  you  see;  I've  lost  my 
nerve,  so  I  applied  for  short  leave.  I'm  sailing  for  Van- 
couver on  the  Empress.  I  leave  here  the  day  after  to- 
morrow. 

Daisy.  [Suddenly  distraught.]  You  don't  mean  that 
you're  going  to  leave  me?  I  didn't  pay  any  attention  to 
what  you  said.  I  thought  it  was  just  a  mood.  George, 
George,  say  that  you  don't  mean  that? 

George.  It's  the  only  thing  to  do,  for  your  sake  and 
Harry's  and  mine.  [Taking  his  courage  in  both  hands.] 
This  is  good-bye,  Daisy. 

Daisy.  [Seizing  him  by  the  shoulders.]  Let  me  look  at 
your  eyes.     George,  you're  crazy.     You  can't  go. 

George.  [Drawing  away.]  For  God's  sake,  don't 
touch  me.  I  wanted  to  break  it  to  you  gently.  I  don't 
know  what's  happened.  Everything  has  gone  wrong. 
I'm  going,  Daisy,  and  nothing  in  the  world  can  move  me. 
I  implore  you  to  bear  it  bravely.  [She  looks  at  him  with 
suffering,  anxious  eyes.  She  is  stunned.]  I'm  afraid  you're 
going  to  be  awfully  unhappy  for  a  little  while.  But  I 
beseech  you  to  have  courage.  Soon  the  pain  won't  be 
so  great,  and  then  you'll  see  I've  done  the  only  possible 
thing. 

Daisy.     [Sullenly.]     How  long  are  you  going  for? 

George.     Three  or  four  months.     [A  pause.]    I  knew 


SCENE  vi]  EAST  OF  SUEZ  115 

you'd  be  brave,  Daisy.  Do  you  know,  I  was  afraid 
you'd  cry  most  awfully.  It  tears  my  heart  to  see 
you  cry. 

Daisy.     Do  you  think  I'm  a  child.?     Do  you  think  I 
can  cry  now.? 

George.     It's  good-bye,  then,  Daisy. 

[She  does  not  answer.     She  hardly  hears  zvhat  he  says. 
He   hesitates   an   instant  wretchedly,   and  then   goes 
quickly  out  of  the  room.     Daisy  stands  as  if  she  were 
turned  to  stone.     Her  face  is  haggard.     In  a  minute 
Lee  Tai  comes  softly  in.     He  stands  at  the   door, 
looking  at  her,  then  gives  a  little  cough.     She  turns 
round  and  sees  him. 
Daisy.     [Fiercely.]     What  do  you  want  ? 
Lee  Tai.     I  was  waiting  till  you  were  disengaged. 
Daisy.     Have  you  been  listening? 
Lee  Tai.     I  have  heard. 

Daisy.     I  wish  I  could  have  seen  you  with  your  ear 
to  the  keyhole.     You  must  have  looked  dignified. 

[She    begins     to     laugh,    angrily,    hysterically,    beside 
herself. 
Lee  Tai.     Let  me  give  you  a  cup  of  tea.     It's  quite 
warm  still. 

Daisy.     I   should  have  thought  you  were  rather  old 
and  fat  to  stoop  so  much. 

Lee  Tai.     Fortunately  the  windows  are  only  covered 
with  rice  paper,  so  I  was  saved  that  inconvenience. 

[He  hands  her  a  cup  of  tea.     She  takes  it  and  flings  it 
at  him.     The  tea  is  splashed  over  his  black  robe. 
Daisy.     Get  out  of  here  or  I'll  kill  you. 

[He  wipes   his   dress   with    a   large  silk    pocket  hand- 
kerchief. 
Lee    Tai.     You    forget    sometimes   the   manners    tiiat 
were  taught  you  at  that  elegant  school  for  young  ladies  in 
England. 

Daisy.     I  suppose  you've  come  to  crow  over  mc.     Well, 
crow. 


IIG  EAST  OF  SUEZ  [scene  vi 

Lee  Tai.     I  told  you  that  I  thought  I  should  not  have 

to  wait  very  long. 

Daisy.  [Scornfully.]  You  fool.  Do  you  think  it's 
finished? 

Lee  Tai.  Did  I  not  tell  you  that  the  white  man's  love 
was  weak  and  vacillating? 

Daisy.  He's  going  away  for  four  months.  Do  you 
think  that  frightens  me?  He's  loved  me  for  ten  years. 
I've  loved  him  for  ten  years.  Do  you  think  he  can  forget 
me  in  four  months?     He'll  come  back. 

Lee  Tai.     Not  to  you. 

Daisy.  Yes,  yes,  yes.  And  when  he  comes  it'll  be  for 
good.  He'll  hunger  for  me  as  he  hungered  before.  He'll 
forget  his  scruples,  his  remorse,  his  stupid  duties,  because 
he'll  only  remember  me. 

Lee  Tai.  [Tery  quietly.]  He's  going  to  be  married  to 
Miss  Sylvia  Knox. 

[Daisy  springs  at  him  and  seizes  him  by  the  throat. 

Daisy.  That's  a  lie.  That's  a  lie.  Take  it  back. 
You  pig. 

[He  takes  her  hands  and  drags  them  away  from  his  throat. 
He  holds  her  fast. 

Lee  Tai.  Ask  your  mother.  She  knows.  The  Chinese 
all  know. 

Daisy.  [Calling.]  Amah,  amah.  It's  a  lie.  How 
dare  you? 

Lee  Tai.  He  told  you  he  was  going  to  an  official  din- 
ner, but  he  didn't  tell  you  that  as  soon  as  he  could  get 
away  he  was  going  to  play  bridge  at  the  Knoxes'.  Pity 
you  don't  play.     They  might  have  asked  you  too. 

[The  Amah  com^s  in. 

Amah.     You  call  me,  Daisy? 

Daisy.  [Snatching  her  hands  away.]  Let  me  go,  you 
fool.  [To  the  Amah.]  He  says  George  Conway  is  engaged 
to  Harold  Knox's  sister.     It's  not  true. 

Amah.  I  no  sabe.  George's  boy  say  so.  Knox  the 
night    before    last    at    the    club,   he    say  to   his   friend, 


SCENE  vi]  EAST  OF  SUEZ  117 

George    Conway    and    my    sister,   they    going    to    make 
a  match  of  it. 

[J  horrible  change  comes  over  Daisy's  face  as  all  its 
features  becoine  distorted  with  rage  and  jealousy. 
Daisy.     The  Har. 

[She  stares  in  front  of  her,  hatred,  anger,  and  mortifica- 
tion seething  in  her  heart.  Then  she  gives  a  cruel 
malicious  chuckle.  She  goes  quickly  to  the  Korean 
chest  and  flings  it  open.  She  takes  out  a  parcel  of 
letters  and  crossing  hack  swiftly  to  Lee  Tai  thrusts 
them  in  his  hands. 
Lee  Tai.     What  is  this.'' 

Daisy.     They're  the  letters  he  wrote  me.     Let  them 
come  into  Harry's  hands. 
Lee  Tai.     Why? 

Daisy.     So  that  Harry  may  know  ever^'thing. 
Lee  Tai.     [Jfter  a  moment's  thought.]     And  what  will 
you  do  for  me  if  I  do  this  for  you? 

Daisy.     What  you  like.  .  .  .     Only  they  must  get  to 
him  quickly.     George  goes  away  the  day  after  to-morrow. 
Lee  Tai.     WHiere  is  your  husband? 
Daisy.     Kalgan. 

Lee  Tai.  The  letters  shall  reach  him  to-morrow  morn- 
ing.    I'll  send  them  by  car. 

Daisy.     It'll  be  a  pleasant  surprise  for  his  breakfast. 
Lee  Tai.     Daisy. 

Daisy.  Go  quickly — or  I  shall  change  my  mind. 
There'll  be  plenty  of  time  for  everything  else  after  to- 
morrow. 

Lee  Tai.     I'll  go. 

[Lee  Tai  goes  out.     Daisy  gives  him  a  look  of  contempt. 
Daisy.     Fool. 

Amah.     What  you  mean,  Daisy? 
Daisy.     Harry  will  divorce  mc.     And  then  .  .  . 

[Daisy  gives  a  little  cry  of  triumph. 

end   of    scene    VI 


SCENE  VII 


I 

I 


i 


SCENE  VII 

The  sitting  room  in  the  Andersons'  apartments. 
The  scene  is  the  same  as  Scene  iv.     Daisy  and  the  Amah. 
Daisy  is  walking  restlessly  backwards  and  forwards. 

Daisy.  At  what  time  does  the  train  from  Kalgan  get 
in? 

Amah.     Five  o'clock,  my  think  so. 

Daisy.     What  time  is  it  now-f" 

[The  Amah  takes  a  large  gold  watch  out  and  looks  at  it. 

Amah.     My  watch  no  walkee. 

Daisy.  Why  don't  you  have  it  mended?  What's  the 
good  of  a  watch  that  doesn't  go? 

Amah.  Gold  watch.  Eighteen  carats.  Cost  velly 
much  money.     Give  me  plenty  face. 

Daisy.     [Impatiently.]     Go  and  ask  Wu  what  time  it  is. 

Amah.  I  know  time.  I  tell  by  the  sun.  More  better 
than  European  watch.     I  think  half-past  four  perhaps. 

Daisy.     Why  doesn't  George  come? 

Amah.     Perhaps  he  velly  busy. 

Daisy.     You  gave  him  the  note  yourself? 

Amah.     Yes,  I  give  him  letter. 

Daisy.     What  did  he  say? 

Amah.     He  no  say  nothing.     He  look:   damn,  damn. 

Daisy.     Did  you  tell  him  it  was  very  important? 

Amah.     I  say,  you  come  quick.     Chop-chop. 

Daisy.     Yes. 

Amah.  I  tell  you  before.  Why  you  want  me  tell  you 
again  ?  He  say  he  come  chop-chop  when  he  get  away  from 
office. 

Daisy.  As  if  the  office  mattered  now.  I  ought  to  have 
gone  to  him  myself. 


128  EAST  OF  SUEZ  [scene  vii 

Amah.  You  no  make  him  come  more  quick  because  you 
walk  up  down.     Why  you  no  sit  still? 

Daisy.  The  train  is  never  punctual.  It'll  take  Harry 
at  least  twenty  minutes  to  get  out  here. 

Amah.     Lee  Tai  .  .  , 

Daisy.  [Interrupting.]  Don't  talk  to  me  of  Lee  Tai. 
Why  on  earth  should  I  bother  about  Lee  Tai  ? 

Amah.  [Taking  up  an  opium  pipe  that  is  on  the  table. \ 
Shall  Amah  make  her  little  Daisy  a  pipe?  Daisy  very 
restless. 

Daisy.     Have  you  got  opium? 

Amah.  Lee  Tai  give  me  some.  [She  shows  Daisy  a 
small  tin  box.]  Number  one  quality.  You  have  one 
little  pipe,  Daisy. 

Daisy.    No. 

[Wu  comes  in  with  a  card.    He  gives  it  to  Daisy. 

Miss  Knox.     Say  I'm  not  at  home. 

Wu.     Yes,  missy. 

[He  is  about  to  go  out. 

Daisy.     Stop.     Is  she  alone? 

Wu.  She  ride  up  to  gate  with  gentleman  and  lady. 
She  say  can  she  see  you  for  two,  three  minutes. 

Daisy.  [After  a  moment's  consideration.]  Tell  her  to 
come  in. 

[Wu  goes  out. 

Amah.     What  you  want  to  see  her  for,  Daisy? 

Daisy.     Mind  your  own  business. 

Amah.     George  come  very  soon  now. 

Daisy.  I  shall  get  rid  of  her  as  soon  as  he  does,  [yii.- 
most  to  herself.]     I  want  to  see  for  myself. 

[Sylvia  comes  in.  She  wears  a  riding-habit.  Daisy 
greets  her  cordially.  Her  manner.,  which  was  rest- 
less, becomes  on  a  sudden  gay,  gracious,  and  friendly. 

Daisy.  Oh,  my  dear,  how  sweet  of  you  to  come  all 
this  way! 

[The  Amah  slips  out. 

Sylvia.     I  can  on.y  stop  a  second.     I  was  riding  with 


SCENE  vii]  EAST  OF  SUEZ  123 

the  Fergusons  and  we  passed  your  temple.  I  thought  I'd 
just  run  in  and  see  how  you  were.  I  haven't  seen  you  for 
an  age. 

Daisy.     Are  the  Fergusons  waiting  outside? 

Sylvia.  They  rode  on.  They  said  they'd  fetch  me  in 
five  minutes. 

Daisy.  [Smiling.]  How  did  your  bridge  party  go  off 
last  night.? 

Sylvia.  How  on  earth  did  you  hear  about  that?  Did 
Mr.  Conway  tell  you?  I  wish  you  played  bridge.  We 
really  had  rather  a  lark. 

Daisy.     George  didn't  come  in  till  late,  I  suppose? 

Sylvia.  Oh,  no,  he  got  away  in  fairly  decent  time. 
Where  there's  a  will  there's  a  way,  you  know,  even  at 
official  functions. 

Daisy.  [With  a  little  laugh.]  Oh,  I  know!  I'm  ex- 
pecting him  here  in  a  minute.  I  hope  you  won't  have  to 
go  before  he  comes. 

Sylvia.  Well,  I  saw  him  yesterday.  I  can  live  one 
day  without  seeing  him. 

Daisy.  I  wonder  if  he  can  live  one  day  without  seeing 
you? 

Sylvia.     I'm  tolerably  sure  he  can  do  that. 

Daisy.  [As  if  she  were  merely  teasing.]  A  little  bird 
has  whispered  to  me  that  there's  a  very  pretty  blonde  in 
Peking  .  .  . 

Sylvia.     [Interrupting.]     Probably  peroxide. 

Daisy.  Not  in  this  case.  Who  is  not  entirely  indiffer- 
ent to  the  Assistant  Chinese  Secretary  at  the  British 
Legation. 

Sylvia.     Fancy  I 

Daisy.  I  suppose  you  haven't  an  idea  who  I'm  talking 
about? 

Sylvia.     Not  a  ghost. 

Daisy.    Then  why  do  you  blush  to  the  roots  of  your  hair? 

Sylvia.  I  was  outraged  at  your  suggestion  that  my 
hair  was  dyed. 


124  EAST  OF  SUEZ  [scene  vii 

Daisy.     It's  too  bad  of  me  to  tease  you,  isn't  it? 

Sylvia.  I'm  a  perfect  owl.  You  know  what  a  tactless 
idiot  my  brother  is.  He  will  chaff  me  about  George  Con- 
way, so  it  makes  me  self-conscious  when  anybody  talks 
about  him. 

Daisy.  Darling,  it's  nothing  to  be  ashamed  of.  Why 
shouldn't  you  be  in  love  with  him? 

Sylvia.  [With  a  laugh.]  But  I'm  not  in  love  with 
him. 

Daisy.     Why  does  your  brother  chaff  you  then? 

Sylvia.  Because  he's  under  the  delusion  that  it's 
funny. 

Daisy.     But  you  do  like  him,  don't  you? 

Sylvia.  Of  course  I  like  him  ...  I  think  he's  a  very 
good  sort. 

Daisy.     Would  you  marry  him  if  he  asked  you? 

Sylvia.  My  dear,  what  are  you  talking  about?  The 
thought  never  entered  my  head. 

Daisy.  Oh,  what  nonsense!  When  a  man's  as  atten- 
tive to  a  girl  as  George  has  been  to  you  she  can't  help  ask- 
ing herself  if  she'd  like  to  marry  him  or  not. 

Sylvia.  [Coldly,  but  still  smiling.]  Can't  she?  I'm 
afraid  I  haven't  a  close  acquaintance  with  that  sort  of  girl. 

Daisy.  Am  I  being  very  vulgar?  You  know,  we  half- 
castes  are  sometimes. 

Sylvia.  [With  a  trace  of  impatience.]  Of  course  you're 
not  vulgar.  But  I  don't  know  why  you  want  to  talk 
about  something  that's  absolute  Greek  to  me. 

Daisy.  The  natural  curiosity  of  the  Eurasian.  Every- 
body tells  me  that  you're  engaged  to  George. 

Sylvia.     Look  at  my  hand. 

[She  stretches  out  her  left  hand  so  that  Daisy  should  see 
there  is  no  ring  on  the  fourth  finger.  Daisy  stares 
at  it  for  a  moment. 

Daisy.     You  always  used  to  wear  an  engagement  ring. 

Sylvia.  [Gravely.]  It  was  put  on  my  finger  by  a  poor 
boy  who  was  killed.     I  meant  to  wear  it  always. 


SCENE  vn]  EAST  OF  SUEZ  125 

Daisy.     Why  have  you  taken  it  off? 

[She  looks  at  Sylvia.  She  can  no  longer  preserve  her 
artificial  gaiety  and  her  voice  is  cold  and  hard.  Before 
Sylvia  can  answer  George  Conway  comes  in. 

Daisy.  [Regaining  zvith  an  effort  her  earlier  sprightli- 
ness.]     There  you  are  at  last. 

George.  I  couldn't  come  sooner.  I  was  with  the 
Minister. 

Daisy.     We  were  wondering  why  you  were  so  late. 

Sylvia.     Daisy  was  wondering, 

George.  [Shaking  hands  with  Sylvia.]  I  thought  that 
was  your  pony  outside. 

Sylvia.     Clever. 

George.     The  Fergusons  were  just  riding  up  as  I  came. 

Sylvia.     Oh,  they've  come  to  fetch  me!     I  must  holt. 

George.  I'm  afraid  we  kept  you  up  till  all  sorts  of 
hours  last  night. 

Sylvia.     Not  a  bit.     Do  I  look  jaded.'' 

George.  Of  course  not.  You  young  things  can  stay 
up  till  three  in  the  morning  and  be  as  fresh  as  paint.  Wait 
till  you're  my  age. 

Sylvia.  You  haven't  passed  your  hundredth  birthday 
yet,  have  you? 

George.  Not  quite.  But  I'm  old  enough  to  be  your 
father. 

Sylvia.  I  will  not  stay  and  listen  to  you  talk  ruhhisli. 
Good-bye,  Daisy.     Do  come  and  see  me  one  day  this  week. 

Daisy.     Good-bye. 

George.     I'll  come  and  help  you  mount,  shall  I? 

Sylvia.     Oh,  no,  don't  bother!     Mr.  Ferguson  is  tJuTC. 

Geor(;e.     Oh,  all  right! 

[She  goes  out. 

Daisy.  [Her  smiles  vanishing,  hostile  and  cold.]  You 
might  shut  the  door. 

George.     [Doing  so.]     I  will. 

Daisy.     Aren't  you  going  to  kiss  me? 

George.     Daisy. 


126  EAST  OF  SUEZ  [scene  vii 

Daisy.  [Hastily.]  Oh,  no,  it  doesn't  matter!  Don't 
bother. 

George.  You  said  you  wanted  to  see  me  very  impor- 
tantly. 

Daisy.     It's  kind  of  you  to  have  come. 

George.  [With  an  effort  at  ease  of  manner.]  My  dear 
child,  what  are  you  talking  about?  You  must  know  that 
if  there's  anything  in  the  world  I  can  do  for  you  I'm  only 
too  anxious  to  do  it. 

Daisy.     Is  that  girl  in  love  with  you  ? 

George.  Good  heavens,  no!  What  put  that  idea  in 
your  head? 

Daisy.     The  eyes  in  my  head. 

George.     What  perfect  nonsense! 

Daisy.  Has  it  never  occurred  to  you  that  she  was  in 
love  with  you? 

George.     Never. 

Daisy.  Why  do  you  lie  to  me?  I've  been  told  that 
you  were  engaged  to  her. 

George.     That's  ludicrous.     It's  absolutely  untrue. 

Daisy.  Yes,  I  think  it  is.  At  the  first  moment  I  be- 
lieved it.  And  then  I  thought  it  over  and  I  knew  it 
couldn't  be  true.  I  don't  think  you'd  do  anything  under- 
hand. 

George.     At  all  events  I  shouldn't  do  that. 

Daisy.     In  fairness  to  me  or  in  fairness  to  her? 

George.  My  dear  Daisy,  what  are  you  talking 
about  ? 

Daisy.  Did  you  break  with  me  yesterday  so  that  you 
might  be  free  to  propose  to  her? 

George.     No,  I  swear  I  didn't. 

Daisy.     Why  are  you  so  emphatic? 

George.  Oh,  Daisy,  what's  the  good  of  tormenting 
yourself  and  tormenting  me?  You  know  I  loved  you  just 
as  much  as  you  loved  me.  But  I'm  not  like  you.  It  was 
a  tortuje.  I  knew  it  was  wrong  and  hateful.  I  couldn't 
go  on. 


SCENE  \T[i]  EAST  OF  SUEZ  127 

Daisy.  Do  you  think  it  would  have  seemed  wrong  and 
hateful  if  it  hadn't  been  for  Sylvia? 

George.     Yes. 

Daisy.     You  don't  say  that  very  convincingly. 

George.  I  do  think  it  is  because  she  is  so  loyal,  and 
good  and  straight  that  I  saw  so  clearly  what  a  cad  I  was. 
I  think  I  found  courage  to  do  the  only  possible  thing  in 
her  frankness  and  honesty. 

Daisy.  I  think  you  deceive  yourself.  Are  you  sure 
this  admiration  of  yours  for  all  her  admirable  qualities 
isn't — love.'' 

George.     My  dear,  I'm  unfit  to  love  her. 

Daisy.  She  doesn't  think  so.  If  you  asked  her  to 
marr>^  you  she'd  accept. 

George.  [Impatiently.]  What  nonsense.  What  in 
heaven's  name  made  you  think  that.f* 

Daisy.     I  made  it  my  business  to  find  out. 

George.  Well,  you  can  set  your  mind  at  rest.  I'm  not 
going  to  ask  her  to  marry  me. 

[The  Amah  comes  in. 

Amah.     Five  o'clock,  Daisy. 

Daisy.     Leave  me  alone. 

[The  Amah  goes  out. 

George.     When  does  Harry  come  back? 

Daisy.  [AJter  a  pause,  in  a  strange,  hoarse  voice.]  To- 
day. 

George.  [Surprised  at  her  tone  and  manner.]  Is  any- 
thing the  matter,  Daisy? 

Daisy.     I'm  afraid  I  have  some  very  bad  news  for  you. 

George.     [Startled.]     Oh! 

Daisy.  You  know  those  letters.  I  kept  tliem  locked 
in  the  box.  Lee  Tai  was  furious  because  I  wouldn't  have 
anything  to  do  with  him.  Last  night  he  broke  open  the 
box.     He's  sent  the  letters  to  Harry. 

George.     [Overwhelmed.]     My  God! 

Daisy.  I'm  awfully  sorry.  It  wasn't  my  fault.  I 
couldn't  dream  that  there  was  any  risk. 


128  EAST  OF  SUEZ  [scene  vii 

George.     Was  that  why  you  sent  for  me? 

Daisy.     Say  you  don't  hate  me. 

George.     Oh,  poor  Harry! 

Daisy.     Don't  think  of  him  now.     Think  of  me. 

George.  What  do  we  matter  now,  you  and  I?  We're 
a  pair  of  rotters.  Harry  is  a  white  man  through  and 
through.     He  loved  you,  and  he  trusted  me. 

Daisy.     What  are  we  going  to  do.'' 

George.  Give  me  a  minute.  I'm  all  at  sixes  and 
sevens.     It's  such  a  knock-out  hlow. 

Daisy.  Harry  will  be  here  soon.  His  train's  due  at 
five. 

George.     We'll  wait  for  him. 

Daisy.     What? 

George.  Did  you  think  I  was  going  to  run  away?  I'll 
stay  and  face  him. 

Daisy.     He'll  kill  you. 

George.     [With  anguish.]     I  wish  to  God  he  would. 

Daisy.  Oh,  George,  how  can  you  be  so  cruel?  Don't 
you  love  me  any  more?  I  love  you.  George,  what  is  to 
become  of  me  if  you  desert  me  ? 

George.  Harry  loves  you  so  much  and  he  loves  me 
too.  Heaven  knows  what  sacrifices  he's  not  capable  of. 
Oh,  I'm  so  ashamed! 

Daisy.  Why  do  you  bother  about  him?  He  doesn't 
count.  He'll  get  over  it.  After  all,  what  can  he  do? 
He  can  only  divorce  me  and  perhaps  we  can  get  him  to 
let  me  divorce  him. 

George.     Could  you  allozv  him  to  do  that? 

Daisy.  It  means  so  little  to  a  man.  I  don't  care,  I 
was  thinking  of  you.  It  would  make  it  so  much  easier 
for  you.  [He  gives  her  a  quick  look.  He  perceives  the  allu- 
sion to  marriage.]  George,  George,  you  wouldn't  leave — 
leave  me  in  the  cart. 

George.     Of  course  I'll  marry  you. 

Daisy.  [Smiling  now,  loving  and  tender.]  Oh,  George, 
we  shall  be  so  happy.     And  you  know,  some  day  I'm  sure 


SCENE  \^I]  EAST  OF  SUEZ  129 

you'll  think  It's  better  as  it's  turned  out.  1  hate  all  this 
deceit  just  as  much  as  you  do.  Oh,  it'll  make  such  a  dif- 
ference when  our  love  can  be  open  and  above  board. 
When  I'm  your  wife  you'll  forget  all  that  has  tormented 
you.     Oh,  George,  I  know  we  shall  be  happy! 

[Jll  this  time  George  has  been  thinking  deeply. 

George.  How  do  you  know  that  Lee  Tai  sent  those 
wretched  letters  to  Harry.? 

Daisy.  He  sent  me  a  message.  He  wasn't  satisfied 
with  doing  a  dirty  trick.  He  wanted  me  to  know  that  he'd 
done  it. 

George.  How  did  he  know  you  kept  my  letters 
there? 

Daisy.  I  told  you  I  was  reading  them  while  I  waited 
for  you.  He  came  in  and  I  put  them  away.  I  suppose  he 
suspected.  It  was  very  easy  for  him  to  get  into  the  room 
after  amah  and  I  went  away. 

George.  [Sarcastically.]  Had  you  left  the  key  of  the 
box  on  the  table.'' 

Daisy.  What  do  you  mean,  George.''  I'd  locked  it  up. 
Of  course  I  took  the  key  with  me.  I  suppose  he  broke  it 
open.     What  docs  it  matter.'    The  harm's  done. 

George.  How  do  you  know  Harry  received  the  letters 
this  morning.'' 

Daisy.     Lcc  Tai  said  he  would. 

George.     In  Kajgan? 

Daisy.     Yes. 

George.     Hdw  did  he  know  Harry  was  in  Kalgan.'' 

Daisy.     The  Chinese  know  all  one's  movements. 

George.  They  can't  do  miracles.  Harry  was  going 
up  there  unexpectedly  on  a  private  mission.  The  fellows 
in  that  company  know  very  well  Ik)w  to  keep  their  own 
counsel  when  it's  needful.  ...  1  imagnie  you  were  the 
only  person  in  Peking  who  knew  Harry  was  going  to  Kal- 
gan. 

Daisy.     [Casually.]     Well,  ir  appears  I  wasn't. 

George.     How  do  you  suppctse  Lee  Tai  found  out  sfmie- 


130  EAST  OF  SUEZ  [scene  vii 

thing  that  Harry  had  particuhirly  told  you  to  keep  quiet 
about  ? 

Daisy.  How  can  I  tell?  He  may  have  found  out  from 
the  amah  for  all  I  know. 

George.     Surely  you  hadn't  told  her.'' 

Daisy.  Of  course  not.  She  may  have  read  the  letter. 
She  always  does  read  my  letters. 

George.     Can  she  read  English .? 

Daisy.  Enough  to  find  out  about  other  people's  busi- 
ness. 

George.     Why  should  she  have  told  Lee  Tai.f" 

Daisy.  I  suppose  he  bribed  her.  She'd  do  anything 
for  a  hundred  dollars. 

George.     Not  if  it  would  do  you  harm. 

Daisy.     She's  not  so  devoted  to  me  as  all  that. 

George.     She's  your  mother,  Daisy. 

Daisy.     [Quickly.]     How  d'you  know? 

George.     Harry  told  me. 

Daisy.     I  thought  he  was  too  ashamed  of  it  to  do  that. 

George.  [Persistently.]  How  did  Lee  Tai  know  that 
Harry  was  in  Kalgan? 

Daisy.  I  tell  you  I  don't  know.  Why  do  you  cross- 
examine  me?  Good  God,  I'm  harassed  enough  without 
that!     Wli at  do  you  mean? 

George.  [He  seizes  her  wrists  and  draws  her  violently  to 
him.]  Daisy,  did  you  send  those  letters  to  Harry  your- 
self? 

Daisy.     Never!     Do  you  think  I'm  crazy? 

George.     Did  you  give  them  to  Lee  Tai  to  send? 

Daisy.     No. 

George.  God  damn  you,  speak  the  truth !  I  will  have 
the  truth  for  once  in  your  life. 

[They  stare  at  one  another.  lie  is  stern  and  angry. 
She  pulls  herself  together.  She  is  fierce  and  defiant. 
She  shakes  herself  free  of  him. 

Daisy.     I  gave  them  to  Lee  Tai. 

George.     [Hiding  his  face  with  his  hands.]     My  God! 


SCENE  vii]  EAST  OF  SUEZ  131 

Daisy.  He  told  me  you  were  engaged  to  Sylvia.  For 
a  moment  I  believed  it  and  I  gave  him  the  letters.  I 
hardly  knew  what  I  was  doing.  And  now,  even  though  I 
know  it  wasn't  true,  I'm  glad.  I  wish  I'd  done  it  long 
before. 

George.     You  fiend! 

Daisy,  [Fiolently.]  Do  you  think  I'm  going  to  let 
you  go  so  easily.''  Do  you  think  I've  done  all  I  have  to 
let  you  marry  that  silly  little  English  girl.^ 

George.     [With  anguish.]     Oh,  Daisy,  how  could  you? 

Daisy.  Has  it  never  struck  you  how  you  came  to  be 
wounded  that  night  ?  It  wasn't  you  they  wanted.  It  was 
Harry. 

George.     I  know.     [Suddenly  understanding.]     Daisy! 

Daisy.  Yes,  I  could  do  that.  I  only  wish  it  had  suc- 
ceeded. 

George.     I  can't  believe  it. 

Daisy.     You're  mine,  mine,  mine,  and  I'll  never  let  you 

go- 

George.  [With  increasing  violence.]  Do  you  think  I 
can  ever  look  at  you  again  without  horror.''  In  my  heart 
I've  known  always  that  you  were  evil.  Ten  years  ago 
when  I  first  loved  you  there  was  a  deep  instinct  within  that 
warned  me.  Even  though  my  heart  was  breaking  for  love 
of  you  I  knew  that  you  were  truthless  and  cruel.  I've 
loved  you,  yes,  but  all  the  time  I've  hated  you.  I've 
loved  you,  but  with  the  baser  part  of  me.  All  that  was  in 
me  that  was  honest  and  decent  and  upright  revolted 
against  you.  Always,  always.  This  love  has  been  a 
loathsome  cancer  in  my  heart.  I  couldn't  rid  me  of  it 
without  killing  myself,  but  1  abhorred  it.  I  felt  that  I 
was  degraded  by  the  love  that  burned  me. 

Daisy.  What  do  I  care  so  long  as  you  love?  You  can 
think  anything  you  like  of  me.  Ihe  fact  remains  that 
you  love  mc 

George.  If  you  had  no  pity  fiir  llariy,NNli<>  raised  you 
from  the  gutter  and  gave  you  everything  he  had  to  give, 


132  EAST  OF  SUEZ  [scene  vii 

oh,  if  you'd  loved  me  you'd  have  had  mercy  on  me.  What 
do  you  think  our  life  can  be  together?  Don't  you  know 
what  I  shall  be?  Ruined  and  abject  and  hopeless.  Oh, 
not  only  in  the  eyes  of  everyone  who  knows  me  shall  I  be 
degraded,  but  in  my  own.  Do  you  think  there's  much 
happiness  for  you  there? 

Daisy.  I  shall  have  you.  That's  all  the  happiness  I 
want.  I'd  rather  be  wretched  with  you — oh,  a  thousand 
times — than  happy  with  anyone  else. 

George.  [WrathfuUy,  trying  to  zvound  her.]  You  were 
tormenting  me  just  now  because  you  were  jealous  of 
Sylvia.  Do  you  know  what  I  felt  for  her?  It  wasn't  love 
— at  least  not  what  you  mean  by  love.  I  can  never  love 
anyone  as  I've  loved  you  and  God  knows  I'm  thankful. 
But  I  had  such  a  respect  for  her.  I've  been  so  wretched 
and  she  offered  me  peace.  And  I  did  think  that  some  day 
when  all  this  horror  was  over,  if  I  could  do  something  to 
make  myself  feel  clean  again,  I  should  go  to  her  and,  all 
unworthy,  ask  her  if  she  would  take  me.  And  now  the 
bitterest  pang  of  all  is  to  think  that  she  must  know  what 
an  unspeakable  cad  I've  always  been. 

[He  has  flung  himself  into  a  chair.     He  is  in  despair. 

Daisy  goes  up  to  him  and  going  down  on  her  knees 

beside  him  puts  her  arm  round  him.     She  is  very 

tender. 

Daisy.     Oh,   George,   I   can   make   you   forget   her  so 

easily.     You  don't  know  what  my  love  can  do.     I  know 

I've  been  horrible,  but  it's  only  been  because  I  loved  you. 

Ten  years  ago  I  was  all  that  she  is.     I'm  like  clay  in  your 

hands  and  you  can  make  me  what  you  will.     Oh,  George, 

say  you  forgive  me! 

[In  the  caressing  gestures  of  her  hands  as  she  tries  to 
move  him  one  of  them  rests  by  chance  on  his  coat 
pocket.     She  feels  something  hard.     He  moves  slightly 
away. 
George.     Take  care. 
Daisy.     What's  that  in  your  pocket? 


SCENE  ^^I]  EAST  OF  SUEZ  133 

George.  It's  my  revolver.  Since  my  accident  I've 
always  carried  it  about  with  me.  It's  rather  silly,  but 
the  Minister  asked  me  to.     He  said  he'd  feel  safer. 

Daisy.  Oh,  George,  if  you  only  knew  the  agony  I 
suifered  when  you  were  brought  in!  The  remorse,  the 
fear!     I  thought  I  should  go  mad. 

George.  [fFith  a  bitter  chuckle.]  It  must  have  been 
rather  a  sell  for  you. 

Daisy.  Oh,  you  can  laugh!  I  knew  you'd  forgive 
me.     My  darling. 

George.  I'm  sorry  for  all  the  rough  things  I  said  to 
you,  Daisy.  I  don't  blame  you  for  anything.  You  only 
acted  according  to  your  lights.  The  only  person  I  can 
blame  is  myself.  It's  only  reasonable  that  I  should  suffer 
the  punishment. 

Daisy.     My  sweetheart! 

George.  I  suppose  you  know  that  I  shall  be  quite 
ruined. 

Daisy.  You'll  have  to  leave  the  service.  Does  that 
really  matter  to  you  very  much .? 

George.     It  was  my  whole  life. 

Daisy.  You'll  get  a  job  in  the  post  office.  With  your 
knowledge  of  the  language  they'll  simply  jump  at  you. 
It's  a  Chinese  service.  It  has  nothing  to  do  with  Euro- 
peans. 

George.  Do  you  think  the  postmaster  in  a  small 
Chinese  city  is  a  very  lucrative  position.'' 

Daisy.  What  does  money  matter.''  If  I'd  wanted 
money  I  could  have  got  all  I  wanted  from  Lee  Tai.  We 
can  do  with  very  little.  You  don't  know  what  a  clever 
housekeeper  I  am. 

George.  [In  a  U-vel,  dtuiJ  voice.]  I'm  sure  you're 
wonderful. 

Daisy.  We'll  gf)  t<>  soim-  city  where  there  arc  no 
foreigners.  And  we  shall  be  together  always.  We'll  have 
a  house  high  up  on  the  bank  and  below  us  the  ri\er  will 
flow,  flf)\v  indlessly. 


134  EAST  OF  SUEZ  [scene  vii 

George.     You  seem  to  have  got  it  all  mapped  out. 

Daisy.  If  you  only  knew  how  often  I've  dreamed  of  it. 
Oh,  George,  I  want  rest  and  peace  too!  I'm  so  tired.  I 
want  endless  days  to  rest  in.  [With  a  puzzled  look  at  him.\ 
What  is  the  matter.?     You  look  so  strange. 

George.  [With  a  weary  sigh.]  I  was  thinking  of  all  the 
things  you've  been  saying  to  me. 

Daisy.  If  you  think  it'll  be  easier  for  you  if  you  don't 
marry  me,  you  need  not.  I  don't  care  anything  about 
that.  I'll  be  your  mistress  and  I'll  lie  hidden  in  your  house 
so  that  no  one  shall  know  I'm  there.  I'll  live  like  a  Chinese 
woman.  I'll  be  your  slave  and  your  plaything.  I  want 
to  get  away  from  all  these  Europeans.  After  all,  China  is 
the  land  of  my  birth  and  the  land  of  my  mother.  China 
is  crowding  in  upon  me;  I'm  sick  of  these  foreign  clothes. 
I  have  a  strange  hankering  for  the  ease  of  the  Chinese  dress. 
You've  never  seen  me  in  it  ^ 

George.     Never. 

Daisy.  [With  a  smile.]  You'd  hardly  know  me.  I'll 
be  a  little  Chinese  girl  living  in  the  foreigner's  house. 
Have  you  ever  smoked  opium  \ 

George.  No.  [Daisy  takes  the  Amah's  long  pipe  in 
her  hands.[     Who  does  that  belong  to? 

Daisy.  It's  amah's.  One  day  you  shall  try  and  I'll 
make  your  pipes  for  you.  Lee  Tai  used  to  say  that  no  one 
could  make  them  better  than  I. 

George.  However  low  down  the  ladder  you  go  there's 
apparently  always  a  rung  lower. 

Daisy.  After  you've  smoked  a  pipe  or  two  your  mind 
grows  extraordinarily  clear.  You  have  a  strange  facility 
of  speech  and  yet  no  desire  to  speak.  All  the  puzzles  of 
this  puzzling  world  grow  plain  to  you.  You  are  tranquil 
and  free.  Your  soul  is  gently  released  from  the  bondage 
of  your  body,  and  it  plays,  happy  and  careless,  like  a  child 
with  flowers.  Death  cannot  frighten  you,  and  want  and 
misery  are  like  blue  mountains  far  away.  You  feel  a 
heavenly  power  possess  you  and  you  can  venture  all  things 


SCENE  ^^I]  EAST  OF  SUEZ  135 

because  suffering  cannot  touch  you.  Your  spirit  has 
wings  and  you  fly  like  a  bird  through  the  starry  wastes  of 
the  night.  You  hold  space  and  time  in  the  hollow  of  your 
hand.  Then  you  come  upon  the  dawn,  all  pearly  and  gray 
and  silent,  and  there  in  the  distance,  like  a  dreamless  sleep, 
is  the  sea. 

George.  You  are  showing  me  a  side  of  you  I  never 
knew. 

Daisy.  Do  you  think  you  know  me  yet?  I  don't 
know  myself.  In  my  heart  there  are  secrets  that  are 
strange  even  to  me,  and  spells  to  bind  you  to  me,  and  en- 
chantments so  that  you  will  never  weary. 

[y4  pause. 
George.     [Sta-nding    up.]     I'll    go    and    get    myself   a 
drink.     After  all  these  alarums   and  excursions   I   really 
think  I  deserve  it. 

Daisy.     Amah  will  bring  it  to  you. 
George.     Oh,  it  doesn't  matter!     I  can  easily  fetch  it 
myself.     The  whisky's  in  the  dining-room,  isn't  it."* 
Daisy.     I  expect  so. 

[He  goes  out.     Daisy  goes  over  to  a  chest  zvhich  stands 

in  the  room  and  throws  it  open.     She  takes  out  the 

Manchu  dress  zvhich  Harry  once  gave  her  and  handles 

it  smilingly.     She  holds  up  in  both  her  hands  the 

sumptuous  headdress.      There  is  the  sound  of  a  door 

being  locked.     Daisy  puts  down  the  headdress  and 

looks  at  the  door  enquiringly. 

Daisy.     [IVith  a  Utile  smile.]     What  are  you  locking  the 

door  for,  George.^     [The  words  are  hardly  out  of  her  mouth 

before  there  is  the  report  of  a  pistol  shot.     Daisy  gives  a 

shriek    and  rushes    towards    the   door.]     George!     George! 

What  have  you  donc.^     [She  beats  frantically  on  the  door.] 

Let  me  in!     Let  me  in!     George! 

[The  Amah  comes  in  running  from  the  courtyard. 
Amah.     What's  the  matter?     I  hear  shot. 
Daisy.     Send  the  boys,  quick.     We  must  break  down 
this  door. 


186  EAST  OF  SUEZ  [scene  vii 

Amah.  I  send  the  boys  away.  I  no  want  them  here 
when  Harry  come. 

Daisy,     George!     George!     Speak   to   me.     [She  beats 
violently  on  the  door.]     Oh,  what  shall  I  do.? 
Amah.     Daisy,  what's  the  matter.? 
Daisy.     He's  killed  himself  sooner — sooner  than  .  .  . 
Amah.     [Aghast.]    Oh ! 

[Daisy  staggers  back  into  the  room. 
Daisy.     Oh,  my  God! 

[She  sinks  down  on  the  floor.     She  beats  it  with  her  fist. 
The  Amah  looks  at  her  for  an  instant,  then  with  quick 
determination  seizes  her  shoulder. 
Amah.'     Daisy,  Harry  come  soon. 

Daisy.  [With  a  violent  gesture.]  Leave  me  alone. 
What  do  I  care  if  Harry  comes.? 

Amah.     You  no  can  stay  here.     Come  with  me  quick. 
Daisy.     Go  away.     Damn  you ! 

Amah.  [Stern  and  decided.]  Don't  you  talk  foolish 
now.     You  come.     Lee  Tai  waiting  for  you. 

Daisy.  [With  a  s^idden  suspicion.]  Did  you  know  this 
was  going  to  happen?     George!     George! 

Amah.     Harry  will  kill  you  if  he  find  you  here.     Come 
with  me.     [There  is  a  knocki^ig  at  the  outer  gate.]     There 
he  is.     Daisy!     Daisy! 
Daisy.     Don't  torture  me. 

Amah.  1  bolt  that  door.  He  no  get  in  that  way.  He 
must  come  round  through  temple.  You  come  quick  and 
I  hide  you.     We  slip  out  when  he  safe. 

Daisy.  [With  scornful  rage.]  Do  you  think  I'm  fright- 
ened of  Harry? 

Amah.     He  come  velly  soon  now. 

[Daisy  raises  herself  to  her  feet.     A  strange  look  comes 
over  her  face. 
Daisy.     Lee   Tai    has   made    a   mistake    again.     Bolt 
that  door. 

[The  Amah  runs  to  it  and  slips  the  bolt.     While  she  does 
this  Daisy  takes  the  tin  of  opium  and  quickly  swal- 


SCENE  vii]  EAST  OF  SUEZ  137 

lows  some  of  the  contents.     The  Amah  turns  ro u  nd  a  nd 
sees  her.     She  gives  a  gasp.     She  runs  fortvard  and 
snatches  the  tin  from  Daisy's  hand. 
Amah.     What  you  do,  Daisy?     Daisy,  you  die! 
Daisy.     Yes,  I  die.     The  day  has  come.     The  jungle 
takes  back  its  own. 

Amah.  [Distraught.]  Oh,  Daisy!  Daisy!  My  Httle 
flower. 

Daisy.  How  long  will  it  take?  [The  Amah  sobs  desper- 
ately. Daisy  goes  to  the  Manchu  clothes  and  takes  them  up.] 
Help  me  to  put  these  on. 

Amah.     [Dumhfoujided.]     What  you  mean,  Daisy? 
Daisy.     Curse  you,  do  as  I  tell  you! 
Amah.     I  think  you  crazy.     [Daisy  slips  into  the  long 
skirt  and  the  Amah  zvith  trembling  hands  helps  her  into  the 
coat.    In  the  middle  of  her  dressing  Daisy  staggers.]     Daisy. 
Daisy.     [Recovering    herself.]     Don't    be    a    fool.      I'm 
all  right. 

Amah.     [In  a  terrified  whisper.]     There's  Harry. 

Daisy.     Give  me  the  headdress. 

Harry.     [Outside]     Open  the  door. 

Daisy.     Be  quick. 

Amah.     I  no  understand.     You  die,  Daisy.     You  die. 

[The  knocking  is  repeated  more  violently. 
Harry.     [Shouting.]     Daisy!     Amah!     Open  the  door. 
If  you  don't  open  I'll  break  it  down. 

[Daisy  is  ready.     She  steps  on  to  the  pallet  and  sits  in 
the  Chinese  fashion. 
Daisy.     Go  to  the  door.     Open  when  I  tell  >ou. 

[There  is  by  Daisy's  side  a  box  in  which  arc  the  paints 
and  pencils  the  Chinese  lady  uses  to  moke  up  her  face. 
Daisy  opens  it.  She  takes  out  a  hand  mirror. 
Harry.  Who's  there?  Open,  I  tell  you!  Open! 
[Daisy  puts  rouge  on  her  cheeks.  She  takes  a  black 
pencil  and  touches  her  eyebrows.  She  gives  them  a 
slight  slant  so  that  she  looks  on  a  sudden  absolutely 
Chinese. 


138 


EAST  OF  SUEZ 


[scene  vn 


Daisy.     Open ! 

[The  Amah  draws  the  bolt  and  Harry  bursts  in. 
Harry.  Daisy!  [He  comes  forward  impetuously  and 
then  on  a  sudden  stops.  He  is  taken  aback.  Something,  he 
knows  not  zvhat,  comes  over  him  and  he  feels  helpless  and 
strangely  weak.]  Daisy,  what  does  it  mean.''  These  letters. 
[He  takes  them  out  of  his  pocket  and  thrusts  them  towards 
her.  She  takes  no  notice  of  him.]  Daisy,  speak  to  me. 
I  don't  understand.  [He  staggers  towards  her  with  out- 
stretched hands.]     For  God's  sake,  say  it  isn't  true. 

[Motiofiless  she  contemplates  in  the  mirror  the  Chinese 
woman  of  the  reflection. 


THE    END 


1 


,C  SOUTHERN  REGIONAL  UBf^RYFA^^^^^^^^ 


AA    000  602  892    2 


